My review for the first issue of this Dynamite/DC series ended with a forlorn hope for better things. After an initial issue that attempted to hook me with action and mystery, but instead only managed to alienate me with a confusing in media res opening and dialogue from the Melodrama 101 handbook, I must confess my expectations for this issue were on the low side. Imagine my surprise, then, when this afternoon I read a comic book that not only was reasonably easy to follow but also delivered a bona fide emotional punch to the gut. Yeah, I know. Let me tell you all about it…
This series has quickly become one I look forward to every month. The decision by Gail Simone to supplement the main story featuring Conan and Diana with a developing flashback featuring a younger Conan and a girl called Yanna who looks (and acts) an awful lot like our favourite Amazonian princess has proven to be an astute one. With an increased opportunity for mirroring and foreshadowing, it’s added greater emotional depth to the narrative and, indeed, last month’s cliffhanger emerged out of that flashback plot rather than the main one. Having finally brought our heroes into direct contact (and conflict) with the Corvidae, the story’s principal antagonists, we enter the second half of the story with a fairly clear idea of where the plot – and our heroic duo – is headed. What is less clear is how the action of the present ties in with the memories of Conan’s past. Will we get some clarity this issue? Let’s see…
Last issue saw our two heroes fight each other in an arena, get transferred to a smuggling ship, get threatened by randy sailors, see the ship they’re on get rammed by a Zingaran patrol boat, jump overboard in a desperate attempt to escape and, finally, get menaced by some impressively-rendered sharks. Phew! If all of that sounds action-packed, well, it is. Although much of the action could easily be categorized as padding. Will this issue’s action be any more purposeful? There’s only one way to find out…
Last month’s opening instalment of this series was big on action, a characterization of Conan that foregrounded his grim humour and mercenary streak, and a Wonder Woman who, divorced from her familiar milieu and suffering amnesia, was cloaked in mystery. There was much to enjoy and I must admit I liked it a great deal. Left with a number of issues to explore, not least the precise nature of this version of Wonder Woman and the intriguing question of how she would get on with a hero like Conan, I awaited the arrival of this second issue with a fair amount of anticipation – and impatience. Was it worth the wait? Let’s find out…
This crossover involving two of the most iconic vigilantes in the history of pulp fiction is drawing to a close and I must say I’ve found the series intriguing and interesting rather than downright exciting. Snyder and Orlando have woven a story that acknowledges Batman’s literary debt to The Shadow, while refusing to smooth over the differences between them. Indeed, their diametrically opposed views on the killing of criminals form the thematic tension at the heart of the story that somehow needs to be resolved if the pair are to succeed in their bid to stop the Stag (along with the Joker) entering Shamba-La, the mystical paradise in which The Shadow was ‘born’. Given how last issue ended, it’s difficult to see how they can complete this particular mission. After all, it’s hard to stop crazed criminals entering a pocket paradise when you’re bleeding out on a slab. Still, this is comics. And there is going to be an issue 6. Let’s keep an open mind, eh?
I must admit I’ve been excited about this title ever since it was first announced. As a Wonder Woman fan of many years and a Conan fan for even longer, the prospect of these two iconic characters sharing the printed page was mouth-watering to say the least. That Gail Simone was to be responsible for the script only added to the anticipation. Simone’s understanding of everyone’s favourite Amazon princess is already well-established and her run on Red Sonja is compelling evidence that she can do sword and sorcery with enviable skill. In short, I expected this to be good. Even so, I wasn’t adequately prepared for just how enjoyable and satisfying this first issue was…
Engineering a crossover between two beloved franchises set in markedly different universes is not an easy thing to accomplish. There are, it seems, a couple of ways of doing it. The first, a la the recent Planet of the Apes/Green Lantern series, is to provide a clear in-story reason for the coming together of the different franchises; the second, a la the Snyder/Orlando/Rossmo Batman/Shadow series is to avoid addressing the issue, pretend that the two franchises have always been linked and hope no one cares enough to ask too many awkward questions. This series looks like it’s going to be opting for the former approach, although, by the end of the issue, we’ve still not got a full explanation for how Diana ends up in Aquilonia. What we have got, however, is an exceptionally engaging Conan-centric first half of the issue.
The issue starts with a single-page flashback to Conan’s youth, when, attending a meeting of clan leaders with his father, he encounters a warrior woman and Yanna, a younger warrior girl. The younger Conan is visibly struck by her… well, what exactly? She is very pretty, but it’s not her beauty that the narration focuses on but the notion that, to Conan at any rate, she “walk[s] in mystery”. What this means exactly is not clear. There is, perhaps, the hint of something supernatural going on here, but there’s not much time to dwell on this as the action shifts to focus on an older, more cynical Conan. He is about to ride past a group of three Aesir tribesmen who are preparing to burn off the jaw of Kian, a scrawny Aquilonian. Kian’s quick talking manages to persuade Conan to intervene and save him, but his promise of a gold reward for our barbarian hero proves to be a little more speculative than Conan was expecting. Despite finding out that his promised remuneration depends upon the favourable outcome of a bet on a match in the local arena, Conan is content to follow Kian and extract his reward after the fight is over.
It’s worth pointing out that both Simone’s dialogue and Lopresti and Ryan’s artwork are excellent here. Simone presents Conan with a dry sense of humour and a mercenary streak that is entirely in keeping with Howard’s original creation. The fight between Conan and the three Aesir is rendered clearly and the details of the action are appropriately bold and brutal. To cap the whole episode off, when Conan asks the final Aesir why they were preparing to torture Kian, the Aesir uses his dying breath to inform him that Kian had welched on a debt. Conan’s reaction of “Crom” is nicely wry. It seems that the chances of Conan receiving his payment are diminishing by the page.
As Conan and Kian head for Shamar, the Aquilonian city, we get our first look at a certain warrior princess. (No, not that one!) Somehow captured by Dellos the Slaver and compelled to fight in the arena, Diana is nameless and wearing a crude approximation of her normal outfit, including a star daubed (or tattooed) onto the middle of her forehead. While she can’t remember how she got there or who she is, she can remember how to fight and takes on three male opponents in a really rather impressive action sequence.
This, of course, is the match that Kian has bet on and he has, of course, bet on gender stereotypes and come up horribly short. It’s a good thing, then, that Conan, having seen Diana and been reminded of Yanna from his childhood, is too preoccupied with the Amazonian to be angry with Kian for not being able to fulfill his promise of gold. There follows an interesting moment in which Conan and Diana meet and a cliffhanger ending that, given the nature of the story so far, is not especially surprising but nevertheless manages to round off the issue in a satisfying way.
This is an excellent issue for a variety of reasons. Firstly, Lopresti’s art, if perhaps a little too cartoony for some Conan fans’ tastes (he’s no John Buscema, after all), suits this kind of rollicking action yarn perfectly. There’s a wonderful gruesome clarity to the fight sequences and some interesting uses of perspective, too. Outshining the art by some distance is Simone’s script. Not only does she imbue each of the main characters with their own clearly-defined personalities, but also, through her narration and despite the odd misstep (“no amount of rusted valor would penetrate his thuggish cadre of guards” is not the best), she manages to convey a grandeur and insight that adds a welcome depth and complexity to the overall story. The moment when Conan recognizes (or thinks he recognizes Diana) wouldn’t have anywhere near the impact without the narrator repeating a key line from earlier in the book, for example.
As first issues go, this one does its job perfectly: the main characters have met and begun to form some sort of friendship; an antagonist has been clearly identified and an amusing supporting character introduced; key questions have been raised about just how Diana has come to be in the predicament in which we find her during this issue. Satisfyingly, Simone doesn’t seem to be in any particular hurry to explain things to us, instead preferring to concentrate on the exploring the emotional connection between our two leads and that, it seems to me, can only result in a more natural-seeming and involving narrative.
In short, this is a great start to the series. The odd bit of poor writing notwithstanding, this is a thoroughly engaging issue with great characterization that forms the basis of an already intriguing chemistry between our two lead characters. Lopestri and Ryan’s artwork is dynamic and entertaining and there are hooks galore in the form of unanswered questions about Diana and an ending that promises plenty of action next time around. Highly recommended.
The issue starts with the kind of ‘Tales of the Green Lantern Corps’ story that used to appear as a back-up strip in the main comic back in the 80s. Except this one ends with neither a neat clever twist nor a moment of poignant heroism. The first three and a bit pages of this issue tell the story of an unnamed female Lantern, naïve and altruistic, who is recruited by the Guardians to take the Universal Ring to the Planet of the Apes Earth. On trying to return to her own space and time, she realises that she has essentially been shafted by the Guardians (why anyone ever thought they were suitable beings to run the universe’s police force, I really don’t know) and decides to do her best to save this Earth from its nuclear-powered self-destructive tendencies. Fairly obviously, she fails and you can’t help feeling sorry for her. In the few panels the writers and artist Barnaby Bagenda give her, she comes across as a noble character. In terms of her function in the story, however, it seems to be only to enable Sinestro to take her Green Lantern ring along with the device that enables it to function in this reality. This section ends with Sinestro becoming a Green Lantern once more (for some reason, the ring is at full charge), which, let’s face it, no one wants to see at this point.
Then, the focus moves to Hal, Zira and her ape friends who are looking for Cornelius and the strange ring that he’s been analysing. Their search is interrupted by the appearance of Ursus’ army, who, demoralized and dishevelled, are fleeing from their battle with Cornelius and his mutant ring-slingers and, thanks to some rather nice Bagenda artwork, look thoroughly traumatized by their experience. Hal eventually meets up with Guy and the other Lanterns who have (just about) survived their encounter with the Reds last issue. Guy gives Hal one of the ring-enabling devices and Hal gratefully ‘lanterns up’. During this conversation, however, it turns out that Zira has disappeared, taking Nova and a couple of other apes with her, to continue the search for Cornelius.
They cross into the Forbidden Zone, encountering exactly the same kind of psychic ‘warnings’ that appear in the second film, and are finally confronted by a red mutant-lantern who attacks them before being warned off by Cornelius.
What follows is kind of touching, although also a bit confusing. When Cornelius first appears to Zira, he is on what appears to be a yellow construct gurney, presumably an indication of the severity of the injuries inflicted on him last issue. When he turns into a Star Sapphire (because he loves Zira and, you know, is pleased to see her), the gurney disappears never to be seen again. There are, however, signs that he is hurting, not least the thin cracks that are appearing on his costume(s) and his hands. I suspect that wearing the universal ring may well have some unpleasant side effects.
There’s a nice bit of conversation between Zira and Cornelius, who grants a universal ring to his beloved. Against her better judgement, she takes it and turns her attention to Ursus who is held captive (and presumably has been prisoner all this time) floating above them. It is at this point that the issue ends with the revelation that Grodd has taken control of the remnants of Ursus’ army and the Red Lanterns have allied themselves with him. I would imagine that we’re all extraordinarily shocked by that. No? Oh, well.
This was a decent enough issue, but, to use a phrase beloved of Weird Science‘s Jim Werner, it’s a lot of set-up. There are props and characters moving all over the stage. They’re dancing around each other for the most part and have yet to interact in any meaningful way. There are, as I see it, four key factions developing here. There’s Hal and the other GLs, of course. Their job is to try and stop Sinestro and (pretty literally) put the Universal Ring back in its box. Then there’s Cornelius, the current wielder of the Universal Ring, intent on bringing about a peaceful utopia through dishing out as many rings as possible to those he deems worthy. There are hints that this is not entirely his own idea. The Universal Ring, remember, does have a desire to reproduce itself. The third faction is Grodd and the Reds, bolstered by Ursus’ army. The Reds want the Universal Ring, too. What Grodd wants is unclear, but I’m guessing that bananas are not as high on the list as Guy seemed to think last issue. I would imagine escape, power and revenge are a bit more prominent. Then, finally, there’s Sinestro who kickstarted this whole thing and, four issues in, still hasn’t got what he wanted but doesn’t seem remotely bothered by that. Next issue is the second to last one, so I’d imagine these different factions will start to come together in interesting and hopefully entertaining ways then. We shall see.
Taken on its own, this issue is a little disappointing. While Bagenda’s art remains very enjoyable and the story is easy enough to follow, its focus is almost entirely on characters meeting other characters and alliances forming and/or changing as a result. That said, I am looking forward to where we’re heading, not least because I want to see what Sinestro’s really up to. This meeting of the Planet of the Apes universe and the Green Lantern one remains intriguing and entertaining enough. I’m fully expecting things to pick up next issue.
The idea of a crossover series featuring Batman and The Shadow is, on the surface, a no-brainer. The two characters are both alter egos of extraordinarily rich men who deploy an array of resources – both technological and human – to fight crime. Both operate in the shadows, both routinely break the law, and both struggle with their pasts. And both are multi-media properties who have their roots in the pulp era. While Batman has undoubtedly eclipsed The Shadow in popularity, it’s worth remembering that, in the late 30s, The Shadow was appearing in a range of media (including a radio serial starring Orson Welles) and that Batman co-creator Bill Finger has readily acknowledged The Shadow’s influence on the development of the ‘dark knight’. Batman’s debut story, Finger has also admitted, was heavily influenced by a Shadow tale. With all this in mind, seeing The Shadow and Batman work side by side is an intriguing – if not outright mouth-watering – prospect. But that isn’t what we get…
We start the issue with a short one-page scene featuring a meeting between Bruce Wayne and Henri Ducard which takes place at Ducard’s retreat in the French Alps. This turns out to be a framing sequence as we return to their conversation at the issue’s close. Now, Ducard is an interesting character not least because he has a certain history with Bruce/Batman. Perhaps most famous for being played by Liam Neeson in Batman Begins, Ducard is a decidedly murky figure who had a hand in training Bruce in his pre-Batman days. Whatever his background, it seems Bruce needs his help in unravelling a particularly difficult mystery. The narrative takes us back a week to show us just what that mystery is.
The next page is mostly a very impressive depiction of Arkham Asylum, leaves swirling atmospherically in front of its wrought iron gates. We are shown an unidentified porter doing his rounds handing out food to some of the more famous inmates, although I’m fairly sure he’s going way beyond asylum regulations in giving, for example, Poison Ivy “deep fried tarantula”. As bizarre as this sequence is, it’s entertaining enough and I must confess I did chuckle at Riley Rossmo’s depiction of Maxi Zeus lighting up a light bulb held between his teeth, presumably in an attempt to exercise (and prove) his ‘divinity’. We follow the porter home where he has a promising phone conversation with the man with whom he had a date the previous night. His ability to acquire exotic meals for homicidal lunatics notwithstanding, our nameless porter seems like a nice guy. He has a cute dog in some kind of wheeled harness, he likes Chinese take-out and he might be about to take the next step in a relationship with someone who obviously finds him pretty great. So, of course, he’s going to die on the next page.
And die he does. Again, the art is impressive with a particular focus on the dropped take-out (some kind of prawn dish, it would seem) which is spattered with blood. The statement “I am an honest signal” appears at the bottom of the page, we turn over and now the apartment is a crime scene crawling with cops, who engage in the kind of banter fictional policemen always seem to use when confronted with violent death. Batman shows up; Renee Montoya gives him the room. And I experience the first jolt of uncertainty. Our dead man is Lamont Cranston. Not only is he the first murder victim in this apartment block (that Batman notes this is a bit weird – does he have a scorebook for this kind of thing?), but he’s bearing the name of The Shadow’s real identity. Which can’t be right, can it? Hmmm.
Then Cranston’s killer (or certainly the man whom Batman believes is Cranston’s killer) turns up, a… ahem… ‘shadowy’ figure in a broad-brimmed hat, and he turns out to be, of course… The Shadow. Oh, there are one or two things to say here. The page in which The Shadow is revealed is awesome. Rossmo’s art is poster-worthy here and Batman’s befuddled expression is a perfect reflection of my own when I read this. The pages leading up to that revelation are less wonderful. It is unusual for me to be quite so conflicted about an artist, but in Riley Rossmo’s case it’s impossible not to be. While some of his art is gloriously atmospheric, some of his more mundane panels are too ragged, too impressionistic to follow clearly. There is, to be fair, a very kinetic feel to the fight between Batman and The Shadow, but Rossmo’s decision to draw The Shadow mostly in silhouette in order to delay the revelation of his identity (and, presumably, highlight the character’s supernatural nature) is undermined, not only by the fact that The Shadow possesses one of the most easily identifiable silhouettes in the whole of pulp fiction, but also because it makes the fight too difficult to follow. I’m still not entirely sure if Batman punched The Shadow in the groin. It kind of looks like he did, but who knows? He’s laughing about it afterwards anyway.
Then… there’s the dialogue.
I must admit I had a mixed reaction on seeing this issue’s cover. On the one hand, it is really rather striking. Perhaps that red is a bit too bright, but seeing two tough and resourceful characters together – and particularly The Shadow with both guns blazing – is, well, pretty cool. On the other hand, there are names on that cover that, perhaps a little unfairly, give me pause, chief among them that of Steve Orlando who shares the writing duties with Scott Snyder. I’m not party to the inner workings of DC’s creative processes, but I strongly suspect that this is Snyder’s overall story and Orlando is mostly responsible for dialogue. It certainly reads like it.
Now, I understand that it’s probably foolish to expect entirely naturalistic dialogue from people who go around at night dressed in capes and cowls, but there’s a trend of heroes speaking about themselves in pompous overblown ways that thoroughly annoys me and Orlando indulges in it here. When The Shadow disappears at the end of his inclusive fight, Batman cries out, “Whoever you are, I hope you’re listening. Bats live in the shadows. I’m coming for you.” This all makes Batman seem remarkably weak – and just a little unhinged. I’d much rather have him realise he’s just been confused by The Shadow’s supernatural ability to cloud men’s minds, but I’m perhaps expecting too much here.
That said, some of the dialogue works considerably better. Renee Montoya’s feels very realistic and the writing team are good at evoking character and background very economically at times. At others, though, characters do speak like they’re refugees from a Victorian melodrama with a tendency to pontificate that is both jarring and faintly ludicrous. This includes a very weird-looking bellhop who reads far too much into a disguised Bruce Wayne’s small talk. But, I’m getting ahead of myself.
The rest of the issue is taken up with Batman – in a variety of guises, including a version of Matches Malone whose moustache amusingly flies off in the middle of a fight – tracking down members of The Shadow’s network of informants and assistants or, in a couple of cases, their descendants. The Shadow, it seems, operated out of Gotham in the 30s (oddly enough, so did Bat… oh, hang on) but there’s no clue as to how he’s still around now. Batman does manage to penetrate The Shadow’s inner sanctum, however, and finds evidence of his grandfather’s involvement with Cranston in the 30s as well as a clue that leads him back to… Ducard. And we end the issue as we began – with a conversation between Ducard and Bruce Wayne which ends in a manner that I suspect the creative team meant to be shocking and dramatic but I found abrupt, confusing and a little anti-climactic.
So, what to make of all this? I’m honestly not sure. In one sense, this is a better story than I might have expected. Rather than a straightforward team-up between the two characters, Snyder and Orlando have chosen to make The Shadow himself the mystery that Batman is determined to solve. That’s a decision whose boldness I can’t help but admire. The problems I have with this issue lie in its execution. While linking The Shadow to an already established character like Ducard is an interesting move, Orlando’s dialogue and Rossmo’s art are both inconsistent and the plotting is a bit lax at times. We never do see Renee Montoya come back from her cigarette break and, once he’s encountered The Shadow, Batman’s investigation of Cranston’s death seems to exclude co-operation with the GCPD entirely. While it’s nice to see Cranston’s love interest Margo Lane again, she yields up important information surprisingly easily. Perhaps she’s hoping that Batman can save him, but that’s by no means clear from the writing.
While I like the central idea, it’s far too early to tell if this will turn out to be a great story. At this early stage, there’s certainly a lot of potential, although I’m not as confident as I’d like to be that the potential will be fulfilled. The mystery around The Shadow’s identity and his links with Henri Ducard are enough to make me interested in reading the next issue, but some of the inconsistencies in both art and writing make me unsure whether I’ll enjoy it all that much when I do.
(This review first appeared on the Weird Science DC Comics website.)
DC fans are experiencing something of a crossover renaissance at the moment. Batman’s hanging out with the Teenage Mutant Ninja Turtles on what seems to be a semi-regular basis. The Justice League is currently teaming up with the Power Rangers. Heck, even He-Man and the Thundercats are getting in on the team-up fun. Already in the middle of a sequel to last year’s well-regarded adventure in the Star Trek universe, the Green Lantern gets yet another slice of the crossover pie – this time dipping his toe into the world of one of the most iconic sci-fi movie franchises of all time. Yes, it’s the Planet of the Apes/Green Lantern crossover. Is it a bright shiny ring of a series? Or more of a banana skin? Let’s find out…
Before we do, though, that cover… Ethan van Sciver has long been a fan favourite and it’s not hard to see why. There’s a raw power to the image of the ape hand thrusting towards the sky, the ring glowing on its finger, that is really impressive. The GL corps members hovering in the background look great too – even if their number appears to include a disco ball and a giant onion in a sweater. That the internal artwork doesn’t quite reach van Sciver’s level is a little disappointing but not deal-breakingly so. Barnaby Bagenda’s art is impressive enough, although it is, I would suggest, less polished than his work on Omega Men, although that may be down to colouring issues. On the whole, though, it’s dynamic when it matters and faces are expressive and consistently drawn.
The issue opens with a scene that manages to be dramatic and portentous, while simultaneously raising some troubling questions. On a barren planet, a mysterious hooded figure is engaged in some kind of ritual, apparently drawing on the power of a number of differently coloured Lanterns, each bound and gagged by glowing yellow-orange chains. Now, I’m not a massive Lantern fan, but even I recognise Munk, Saint Walker, Bleez, Gnort, Arkillo and Larfleeze along with a Star Sapphire who is probably Fatality, but it’s difficult to be sure. Whoever this hooded guy is, he must be wielding some pretty impressive power – particularly if he’s captured Larfleeze who, remember, wields the power of an entire corps in his orange ring. What happens to these captive lanterns at the ritual’s climax appears to be fatal and we later see their bodies with smoking holes in their chests. Are we in some kind of alternate reality for the Corps here? Hmmm…
The action shifts to the Planet of the Apes-era Earth where a silent Nova (there is no other kind, I suppose) stands at the edge of a huge crater caused by the impact of what turns out to be a mysterious glowing ring. She’s met by Cornelius who just happens to be out searching for Taylor. This, I think, means we’re somewhere between the first and second movies (the original ones, that is – not the recent remakes). Cornelius takes the ring back to Zira, but already the ring appears to be exerting an influence on him, briefly turning orange at precisely the moment Cornelius is expressing that he can’t leave something as “precious” as the ring lying in a hole in the ground. Aside from being a perhaps ill-advised call-out to The Lord of the Rings, it does hint at the nature of the ring, which seems to amplify (or instil?) the emotions of those near it. There are further hints in the conversation between Cornelius and Zira that follows. As Cornelius expresses his dismay at the warmongering of Zaius and his determination to prevent the general from acquiring the ring, the ring begins to glow a distinctly redder shade of orange.
Which is appropriate, because the next thing we see is the Red Lanterns attacking Oa (which, in itself, is a massive clue that this story does not take place in current continuity) because they believe the Greens have taken Bleez. The Green Lanterns respond as you would expect them to. There’s some nice action here as well as some entertaining banter between Guy Gardner and Hal. Bagenda’s artwork is pretty impressive here, particularly in the panel in which Dex-Starr attacks Arisia. The Green Lanterns deal with the threat of the Reds easily enough and then we’re back to our mysterious hooded figure who reveals himself to be… Sinestro. Of course he is, complete with evil chuckling. We find out that the ritual that started this issue was intended to lead Sinestro to the “universal ring”, presumably the object Cornelius is currently studying. Despite the fact that he still doesn’t possess the ring, he seems pretty happy with himself, the implication being that he knows where it is.
Back to Cornelius who wonders if the ring, now glowing a bright ruby red, is reacting to his voice, before deciding to put it on his finger. Dramatic things happen, including Cornelius crying out in pain and, back on Oa, Hal’s ring telling him that a “cross-chronal disruption” has been detected. The Guardians turn up to reassure Hal that it’s absolutely nothing to worry about, although they do refer to a “relic of an ancient security system”, something that sounds like it just might be worth worrying about. Hal, of course, isn’t satisfied with that and sets off to locate the disturbance and finds out that it’s coming from…. Earth.
On arriving at his homeworld, Hal gets attacked by Sinestro, who tells him that he has found a “true path to victory”. As their battle unfolds, Cornelius is out in the desert struggling with the ring’s energy that, in a rather nice double-page spread, leaps out of his ring and across universes to disrupt Hal’s fight with Sinestro. Things get weird as Hal’s ring loses power, he plunges into New York harbour and struggles to shore only to find himself on the desolate beach made so famous by the first film’s ending, complete with a half-buried Statue of Liberty. This would be a perfect moment to end the issue, but writers Robbie Thompson and Justin Jordan have one more sting in the tail. Cornelius encounters a group of the underground mutants from the second movie who have been drawn to the power of his ring and the issue ends ominously with the mutants bowing down to him in subservience.
Well, that was fun. There are a few issues with this story, but there’s enough going on here to persuade me that picking up the second issue would be a good idea. I suppose the main problems with the story are how it might fit into GL continuity and the overwhelming sense that we’re experiencing a “greatest hits” of the Green Lantern Corps. Oa? Check. Hal and Guy banter? Check. Guardians acting like tremendously unhelpful authoritarian dicks? Check. Hal fighting Sinestro? Check. While I’m not overly concerned about how this fits into GL continuity, I do feel that, on the GL side at least, we’re not really getting much new here. At the moment, it’s the Planet of the Apes elements that are hooking me. I was delighted to see the mutants from the second film make an appearance and I’m very intrigued to see where Cornelius’ meeting with them goes.
Another issue is that, for readers of the current Green Lanterns series, the concept of the ‘universal ring’ might be just a bit too close for comfort to the phantom ring encountered by Simon Baz and Jessica Cruz in recent issues of their book. How enjoyable you find the issue may ultimately boil down to how irritating you find this and/or the portrayal of the GL Corps.
Personally, I enjoyed the issue and think there’s enough impetus here to take the story forward into some interesting places. Bagenda’s art is dramatic when it needs to be and Jordan’s script is easy to follow and, on occasion, witty. The task of bringing two very different fictional universes together is not a straightforward one, and I think, on the whole, the story manages pretty well. Above all, it’s a fun, if not especially challenging, read. It’s worth checking out, particularly if cross-overs are your thing.
NB: This review first appeared in a slightly different form on the Weird Science DC Comics site. Check them out for a whole host of comic reviews.