If listening to my dulcet tones as I discuss in a rambling but (I hope) entertaining way the new issue of The Wild Storm is something you think might be worthwhile, you can do so by downloading or listening to the latest Weird Science DC Comics Podcast here. My section starts at 6 hours and 19 minutes.
Incidentally, if you’ve never experienced the nonsense-fest that is a Weird Science DC Comics Podcast, you probably owe it to yourself to listen to the whole thing. All 12 hours of it. Seriously. I was going to put a nice handy summary of just what you get in 12 hours of DC Comics-focused podcasting, but I’m not sure I can do it justice. Obviously you get in-depth comment on all the main DC titles of the week, but… there’s an awful lot more than that. Including a great deal of… nonsense, a word that here encompasses Dancing Mike’s introductory songs, Jim and Eric’s tales of the cardboard box factory, rants and raves, the Get Fresh Crew, emails, Reggie’s songs, wafflings, diversions, distractions, invective, banter, excoriation and meanderings. And a fair amount of… ahem… fruity language. (You have been warned.)
Last issue’s introduction to this crossover series gave us some familiar elements from both franchises and enough hints as to the unfolding plotline to persuade me that reading issue 2 would be worth my while. One of the most sympathetic ape characters of the original movie franchise, Cornelius made a good viewpoint character and his transformation during that first issue (culminating in him wearing a Red Lantern uniform and killing a mutant) was both interesting and more than a little disturbing. Add in a de-powered Hal Jordan washing up on the shores of a ruined New York and there’s certainly potential for a good story here. Is that potential developed in issue 2? Let’s find out…
Issue 2 opens with Hal waking up on the aforementioned beach with the help of some less than tender prodding from one of Zaius’ apes. Hal reacts pretty much as you might expect and, without the power of his ring, is eventually subdued. What happens to Hal through the rest of this issue is almost identical to what happens to Taylor, Charlton Heston’s character, in the original film: the hosing with water, the beatings, the discussing him as if he’s a lesser animal. The differences are telling, though. Hal gets to keep his clothes on and, oddly, he gets to keep his ring, too – a concession whose justification (that removing it was too much effort) is less than convincing given the brutality and single-mindedness we’ve seen from the ruling apes so far.
The idea of Hal as surrogate Taylor is only reinforced when we realise very early on in this issue that Taylor is dead, killed by the mutants in an attempt to retrieve information from his mind. This confirms that the book is indeed set in an alternative timeline for both Lanterns and apes. With no Taylor to blow it up at the end of the second movie, maybe this Earth has a shot at survival after all. The sequence in which Cornelius finds the dead Taylor and manages to restrain himself from killing the mutants responsible is really rather affecting. The creative team take Cornelius through the gamut of emotions – from anger at what the mutants have done to Taylor, to the willpower necessary to keep himself from killing them, to compassion (although the colours wrongly show him as a blue lantern at this point, the insignia is that of the Indigo Tribe) for his dead friend. It’s a powerful moment in the book and leads to the next big departure from established Planet of the Apes continuity – Cornelius’ effortless dismantling of the nuclear bomb the mutants had been worshipping. For the best of intentions, Cornelius determines that he is going to make the mutants gods themselves and somehow conjures up additional universal rings to give to them.
Confused? Mystified? It’s a good job we’ve got a big massive infodump coming up then, isn’t it? Not a man to take ‘mind your own business’ for an answer, particularly when one of his friends has mysteriously disappeared, Guy Gardner pays the Guardians a visit and, after some initial wrangling, finds them in a considerably chattier mood than in the last issue. If, like me, you were wondering about the universal ring’s apparent similarity to the phantom ring, you’ll be happy (or slightly disappointed, depending on how you view the revelation) to know that the universal ring is, in fact, a cheap knock-off of the phantom ring, an attempt by guardians less skilled than renegade guardian Rami to replicate his creation. (And, presumably, sell them at street markets and car boot sales all over the galaxy.) This ring, however, is “alive” and has a desire to reproduce itself as well as “pacify”, although what exactly is to be pacified remains unclear. Apparently, the guardians decided this ring wasn’t going to pan out so they exiled it to an Earth that exists in its own time loop separate from the rest of “hypertime”. This is what is known as a ‘technobabble’ explanation and it raises as many questions as it answers, not least of which is the not unreasonably one of why can the Guardians not dispose of their crap properly? Surely, chucking the ring into the heart of a nearby star or black hole would be a better option? Then again, if the ring is, in some sense, ‘alive’ that would be tantamount to murder, wouldn’t it? Perhaps they could have just stuck it in the same vault as Volthoom? Hmmm. Maybe not.
The writers do at least attempt to answer the question of why the universal ring was banished to Ape-Earth and, while I don’t find it all that satisfying myself, it does lead Guy Gardner to do something very odd at the end of the issue, which we’ll get to in a moment. After explaining that Sinestro has used some kind of “sorcery” to locate and activate the universal ring, the Guardians helpfully provide Arisia, Guy and Kilowog with devices that will take them through the ‘chronoscape’ (no, I have no idea either) and will protect them from the universal ring’s “endless hunger”. Okay, then. (There’s a spare one for Hal, too.)
Meanwhile, Hal escapes with some help from some nice apes, Sinestro shows up unexpectedly (he doesn’t twirl his moustache evilly, sadly) and Guy and his two fellow Lanterns go to Belle Reve to pick up this issue’s surprise guest star… which doesn’t really make a lot of sense except in the most broad thematic way. For one thing, if Guy and his fellow Lanterns are successful in rescuing Hal, they have no way of getting the guest star back home. For another, the guest star is not someone I would trust as far as I could throw him. Which is not very far at all. But, this is Guy, this is comic books and crossover comic books at that. We’ll see what happens.
All in all, this is a decent issue. Bagenda’s art remains good. His depictions of Cornelius are particularly impressive, although his Hal looks just a little on the young side at times. The script is generally good, too. We needed some background on the universal ring and that’s what we got, but the revelation that it’s a variation of a superweapon only introduced in the regular Green Lanterns book a few months ago is kind of disappointing. In a way, though, it’s entirely consistent with the approach of the writers so far. We’ve been presented with a quick whirl through some of the more familiar elements, moments and tropes of both series, and this does imbue the story with a rather unfortunate sense of déjà vu. That said, there are indications that we’re about to veer off into more unfamiliar territory and that alone suggests that the series is worth sticking with.
NB: 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.
Having only recently re-joined the JLA in order to lead it, Batman is about to face as stern a test as you could wish for outside of nine rounds with Darkseid.
It shouldn’t be quite this dangerous to go hunting in Maine, but, when you add in falling satellites to an area already made famous by writers like Stephen King and H P Lovecraft, I guess a few fatalities are only to be expected. We open the issue with a glorious splash page from Luke McDonnell and Bill Wray which is accompanied by the kind of portentous third person narration 80s comics are all about. Of particular note is the sentence “Unseen by the radar of two nations, molten at temperatures hot enough to vaporise flesh and blood, changing direction as if guided by some invisible force, it hurtles to ground in a remote wilderness: the once-elegant remains of the Justice League satellite.” A triumvirate of fronted adjectivals; powerful words like “molten”, “hurtles” and “vaporise”; a colon: this sentence is perhaps the epitome of dramatic comics narration. The art it refers to is luridly, gloriously straightforward; the glowing embers of the wrecked satellite (it’s been in that condition for about twenty issues at this point) smash into the ground sending, in the foreground, trees flying. A bolder opening to a comic it is hard to imagine.
It’s followed by a scene set the next morning in which a hunter (all double chin, moustache, bandana and lifesaver jacket) and his dog are transfixed by some sort of energy beam that renders them a pair of silhouetted skeletons loosely surrounded by a magenta glow. This beam, of course, comes from Despero and it is painful. At one point during his interrogation of the unnamed hunter, Despero bemoans the fact that the man’s “pain and fear” are blocking his thoughts. Best turn off the torture ray then, eh, Despero? You’d have thought so, but, no, it’s just the cue for Despero to take the information he wants (Justice League-specific information) from the man’s mind directly, dissolving his physical form in the process.
This is, to say the least… unsettling. Well, for the reader at least. Despero is just interested in the information and, having determined that the League that sentenced him to Takron-Galtos is gone and that a new League has taken its place, he decides to take his revenge on the newcomers. Because a somewhat unjust revenge is better than no revenge at all, obviously.
At this point, you might expect the narrative to shift to the unwitting objects of Despero’s ire, but you’d be mistaken. Gerry Conway’s got a number of plates a-spinning and, with one eye on a plotline that’s not going to reach its conclusion for another few issues, he teases us with a three page interlude featuring Zatanna, who we last saw naked and strapped to a device that was extracting her DNA in order to pass her powers on to the enigmatic ‘Adam’. In this section, Zatanna manages, despite the pain band around her head making it impossible to focus properly, to get out of bed and walk down a hallway towards a laboratory where Adam is undergoing some sort of process to make him more magically powerful. Zatanna is intercepted by her former tenant Sheri and some other acolytes of Adam, one of whom slams her against the wall thus rendering her, once again, unconscious. The sequence is nicely paced and does a good job of building up a sense of threat for Zatanna personally and the League more generally. Plus, charismatic cult leaders who experiment on themselves are always interesting.
We then get a rather pleasant bit of character interaction between the out-of-costume Batman and Vixen. They’re dining at a swanky restaurant in Gotham and, to be honest, look like a pretty good couple. Mari McCabe has one of the most unique and instantly recognisable hair dos in the whole of the DC universe, but the restaurant’s clientele seems to be rather relaxed about it. The conversation drifts towards Bruce Wayne’s love life and the not especially groundbreaking observation that Batman prevents Bruce from having any kind of stable relationship. When Bruce opines that sometimes he thinks “there’s no Bruce Wayne; only the Batman and his… shadow”, however, the script touches on something approaching profundity – or, at least, it asks interesting questions about the relationship between Wayne and his alter ego that arguably form the core of the character. As potentially interesting as this all is, it’s doomed to be interrupted by the arrival of Despero.
Now, I know I bang on a lot about the joys of third person narration, but there’s an example here of just how effective it can be. The bottom of page eight ends with “And they do forget, for a little while…” and, when we turn the page over, we get the grimly regretful “Such a little while…” over a panel of Mari and Bruce reacting to a sudden rumbling sound. Artists McDonnell and Wray then treat us to a huge explosion in the middle of Central Park (sorry, not Central Park – whatever Central Park is in Gotham. Gotham Park, probably. I don’t know…) which is rather impressive. Then things start to spiral out of control.
I must admit I like the fact that Conway and crew decide to show us Mari and Bruce changing into their costumes on the fly. I like too the inner narration from Mari, reflecting that, yes, the Batman is ‘real’ to Bruce in a way that Bruce Wayne can never be. It’s an effective bit of characterisation.
A quick word on the art – or, more specifically, the colouring by industry stalwart Gene D’Angelo. There’s a wonderfully hellish lurid quality to the art from the moment that Despero hits the park. It’s excellent and the images of Batman and Vixen heading into battle amidst a hail of glowing embers emphasise their heroism. That heroism is even more apparent when Despero emerges from the flames to swat the heroes aside. Batman’s fortunate enough to catch a nearby tree branch, but Vixen has to concentrate to summon the spirit of some kind of bird to carry her to safety. It’s a close run thing, too, as she still ends up in the park’s lake, which is admittedly better than hitting the ground.
The action becomes decidedly surreal at this point as Batman faces Despero alone only to see Despero’s face start to dissolve before his eyes and the familiar Gotham topography transform into a nightmarish world of hellfire-spewing fissures and a demonic mastodon-like creature that makes short work of the Bat. Despero picks up Batman and starts to gloat, gleaning from Batman’s mind that the rest of the League has been summoned before noticing that something else is happening in the detective’s head. He is far too slow to recognise it as an impulse to attack and Batman’s fist connects with Despero’s face in one of the highlight panels of the issue. For a split second, there really does seem to be the possibility that Batman might die, as a decidedly piqued Despero tosses Batman aside and declares he’ll “pluck out [his] eyes… and crush them like eggs beneath [his] feet”. Nice.
Vixen saves Batman by catching Despero off-balance and pushing him into the big column of energy behind him. Job done? Er no. Announcing that he is “no longer… flesh as you know flesh” but instead “energy and hate incarnate”, Despero strides from the light towards a grim-faced Vixen and Batman. The next panel is a full-page splash of a huge explosion over the New York (sorry, Gotham) skyline; the words “I am Despero the reborn!” emerge from the explosion lettered in such a way as to suggest that, wherever you are in the city, you will have heard them quite distinctly. Batman and Vixen are in a lot of trouble.
Where on earth is the rest of the league?
Well, as might be expected, they’ve gathered at the league’s cave-based headquarters, wondering who sent the emergency signal. (No one’s on monitor duty, it would seem.) Vibe thinks it’s all part of yet another training exercise set up by Batman, but the Martian Manhunter points out that Gotham is cut off and that the teleport link to the city is now dead. The league take a ride in a helicopter to find out what’s going on.
Once again, the artwork really comes through here. The panel showing the helicopter approaching a Gotham in flames is impressive: a cordon of ships blockades the harbour; the JLA’s helicopter is in the foreground heading towards the city; a further chopper hovers just ahead of it; the city beyond it is engulfed in flames and explosions. The chopper pilot helpfully explains to the Martian Manhunter that Despero has somehow transformed the citizens of Gotham into demonic creatures. The helicopter drops the League off close to the energy barrier that is keeping Gotham sealed off. The hazy outline of transformed Gothamites can just be seen through the flames.
Needless to say, flames are something of a problem for the Martian Manhunter, but he overcomes his initial trepidation and gets on with the job of analysing the barrier, determining that it is vibrating at a specific frequency that Vibe can consequently disrupt. The League makes its way through the barrier, fights past a few ‘demons’ and then, just as the Martian Manhunter is pointing out that it’s all been too easy, the heroes come face to face with… Despero.
Now, by the standards of 21st century comic book storytelling, it has arguably taken too long to get to this point, but the comic has been, I think, pretty enjoyable. There’s a lot going on in this issue and pretty much all of it is well-written. There’s a clear sense of building to a climax throughout the issue. Conway gets his Zatanna interlude out of the way quickly before concentrating on a rather affecting bit of character interaction between Batman and Vixen and then moving on to the main plot. The preliminary encounter between Despero, Batman and Vixen is pretty exciting (that punch is wonderful!) and the sight of the pair of Leaguers subdued and imprisoned behind Despero on the final page is chilling in a decidedly gothic manner.
That’s not to say that the issue is perfect. There are one or two minor issues with the art (McDonnell gets Mari and Bruce’s positions confused during the restaurant sequence, for example) and there’s just a little too much recap when the League get together prior to flying out. It’s worth remembering, though, that this is a monthly title and some of the dialogue serves as a useful reminder to some ongoing issues within the League – although they do seem to be way too relaxed about Zatanna not showing up for what could well be this version of the League’s biggest challenge.
On the whole, though, this is an engaging mix of character beats and all-out action. Despero is supremely worthy of the slow introduction he’s had over the last few issues; the ease with which he dispatches Batman and Vixen is thrilling, particularly given that both of them are presented as very proficient in the use of their abilities. That final splash page is mouth-wateringly good, too. All in all, this is an excellent issue from an oft-forgotten era of DC’s flagship team title.
Of the ‘big three’ DC superheroes, Wonder Woman’s origin is by far the most fluid, contentious and contradictory. Whereas Batman’s and Superman’s are both more or less set in stone and well known to even the most casual of comic reader, Wonder Woman’s is, it seems, perennially up for grabs, a prime target for the whims and agendas of a host of writers. So, when fan favourite Greg Rucka returns to the book after two (although for very different reasons) controversial New 52 runs from Brian Azzarello and Meredith Finch, is it too much to ask that he leaves the whole notion of Wonder Woman’s backstory alone?
What do you think?
The issue starts by highlighting the two main contradictory versions of Wonder Woman’s origin. Either she is made of clay – a gift of the gods to Hippolyta, Queen of the Amazons, given life by supernatural forces – or the result of a union between Hippolyta and a disguised Zeus and, in that sense, no different from any of the other many demi-gods of Greek mythology. The first origin reflects the Judaeo-Christian creation story and highlights how much Diana was wanted by her mother; the second is arguably rooted in deception and lust, and emphasises Diana’s heroic status, putting her on a par with Heracles, Perseus and a host of other heroes who claim Zeus’ paternity. The more perceptive of you will have noticed that I’m more a fan of the first origin, but I should point out that what I’ve read of the Azzarello run (about 20 issues) I’ve enjoyed immensely. Having made his choice about Diana’s origin, Azzarello explores it to its full potential, crafting a very entertaining set of stories out of the resulting collision of the world of 21st century (post)modernity and the world of ancient gods.
It’s clear, however, that Rucka has his own ideas about which origin should be favoured; arguably the very fact that he’s even asking the question in the first place indicates that he’s not especially enamoured of the New 52 run. Instead of resolving this fundamental contradiction immediately, however, Rucka chooses to make it the subject of his narrative. He has Wonder Woman question herself, question her memories, her origin, her past and her heritage. She questions how she is perceived by “man’s world” (a phrase that is problematic in its own right) and this culminates in her submitting herself to her own lasso of truth test in which she articulates what her subconscious had been telling her all this time. “You have been deceived.” This comes just after she has taken the ‘helmet of the God of War’ and crushed it in her hands, symbolically devaluing the Finch run in the process. While no one will shed too many tears about that, it is nevertheless a disconcerting moment, not only for Wonder Woman, but also for the reader. The question of just how much of what went on in the New 52 run is going to survive into this is raised and it seems the answer might well be “Not an awful lot.”
This section ends with Diana punching a mirror in a rather impressive (almost) double page spread, each shard reflecting a moment that has been called into question. These include the relationship with Superman (which I really won’t miss), a battle with the Cheetah, the JL fighting parademons and Diana cradling her mother in her arms. There then follows a page in which Diana questions where her story “went wrong” (a loaded question for any storyteller working in a shared universe to have a character ask, particularly when said storyteller has written the character before) and decides to ‘retrace her steps’ to find out. As she does so, she divests herself of key items of her costume – the tiara and the WW choker, both of which are associated closely with the New 52 run. She turns her attention back to the battered helmet of the god of war and…
Up until this point, we’ve been enjoying artwork from Matthew Clark and Sean Parsons and very nice it’s been, too. The lines have been light and clean and Wonder Woman herself has looked pretty impressive and dynamic. Now, we are treated to six pages from Liam Sharp who will be one of the regular artists on the book. The lines become heavier; the colouring darker. Her armour becomes more detailed. There is a muted sombre quality to the art now and it is gorgeous. Wonder Woman doesn’t waste any time and travels to Olympus using the battered helmet as a focus. What greets her there is an autumnal world of faded elegance and stately ruin. The sky is a sumptuous wine-red, and buildings and statues are wreathed in ancient vines. More worryingly for Diana, the gods are entirely absent. Only the statues remain who turn out to be mindless automatons left by Hephaestus to protect this faded Olympus. Wonder Woman dispatches them in a handful of stylish, beautifully rendered panels and is left with the conclusion that “this lie” is “afraid” of her and this is “not Olympus”. All very portentous. All very dramatic. All very vague.
As befits a Rebirth issue, the reader is left with plenty of questions. Where have the real gods gone? Who is powerful enough to erect a fake Olympus in place of the real one? Who is responsible for the deception that has been worked on Diana? Exactly what is true and what is false? How will this affect Diana going forward?
It’s too early for answers, but what we do know is that Rucka is confident enough in what he’s doing to play a long game and I suspect there’ll be many more questions before we start getting answers. Some would perhaps argue that the entire issue is simply an exercise in professional discourtesy. I’m not convinced myself. Personally, I’d contend that, as a writer whose first run on the book was both critically and commercially successful, Rucka’s earned the right to engage in a bit of revisionism. Whether he’s wise to do so remains to be seen. There’s enough here, however, to intrigue and impress this reader at least.
As Rebirth issues go, then, this is not bad at all. Even when he’s being elliptical, Rucka’s writing is very good (the line about the “first casualty of war” being the truth is nicely played). The artwork of both Clark and Sharp is also good, with Sharp’s being, at times, breathtakingly beautiful. I do have reservations, though. I care about the character of Wonder Woman a great deal and do worry that, if the book gets bogged down in a series of character ‘corrections’, the opportunity for Wonder Woman to reassert herself as a powerful superhero in her own right might be lost. I don’t especially want to see Diana constantly conflicted and unsure of her own identity. I want to see her saving the world, fighting evil and injustice, and generally being awesome. Hopefully that’s where Rucka is taking us. Time, as always, will tell…
I’m re-reading Jenkins and Lee’s The Sentry on the Marvel Unlimited app. This is partly because of Reggie Hemingway and Chris Sheehan’s just-released Weird Comics History podcast on the series. I wanted to read the comics again prior to listening to it. The first issue is beautifully drawn (Lee’s art is always amazing, always atmospheric) and the various Golden Age and Silver Age homages are great, too, but the issue as a whole is, because of its introductory nature, a little low-key. While those homages are enjoyable, they also break up the flow of the narrative to an extent that is a little jarring. Nevertheless, I have fond memories of this series and am enjoying revisiting it. While Robert Reynolds’ introduction is more than a little reminiscent of Micky Moran’s in Alan Moore’s Marvelman, Jenkins and Lee are taking a much more considered, deliberate approach here, hinting at the connections between The Sentry and his arch-nemesis The Void while also building up a clear sense of Robert’s rocky relationship with his wife, Linda. The links with the wider Marvel universe are hinted at rather than spelled out and, reading it again, I wonder if that was a bit of a mistake, as the story almost seems too isolated, too self-contained for a first issue that introduces (potentially) a major Marvel character. That said, there’s nothing in recent Marvel history that quite has that mix of psychological darkness and post-modern playfulness. I might blog about future issues as I read them.
The DC Holiday Special is pricey but rather fun. As is to be expected with an anthology title, the stories are variable in quality but all have something to recommend them. The linking narration from Harley Quinn is suitably funny and the artwork throughout is pretty good, with special mention going to Robbie Rodriguez for a breathtakingly breezy Flash story. That Flash story is perhaps the highlight of the issue for me with an ending that hits you right in the “feels” as a certain son of mine likes to say. The Green Lanterns and Batman/Superman stories run it close, though. The former is a rather strange, but nevertheless entertaining, take on the Christmas story of the Three Kings; the latter is an amusing game of one-upmanship between Damien Wayne and Superman, which is deliciously funny at times. Also worth a mention are the Constantine/Wonder Woman story and the Teen Titans story both of which feature some great art and character interaction. All in all, it’s an awful lot of fun and, although Christmas may have well and truly come and gone, if you can find it, it’s still worth picking up.
Another Epic Collection worthy of consideration is Avengers: Judgment Day, which features the conclusion of Roger Stern’s really very under-rated tenure on the book in 1987. The main meat of the collection is the story that follows up the Under Siege storyline which has itself been collected in an Epic Collection of its own. The art is mostly from the rather excellent John Buscema and the issues feature the team having to cope with the implications of a brain-damaged Hercules and a visit to Olympus to deal with an enraged Zeus who blames the Avengers for his son’s condition. It’s slightly bonkers stuff, but Stern’s skill has always been in playing the silly stuff straight and relying on interaction between the characters to provide the levity and/or drama. And this is certainly the case here. This isn’t quite the seminal Avengers team for me, but it’s close – Captain Marvel, Black Knight, Hercules, Captain America, The Wasp and a magically-weakened Thor. The Wasp hands over the chairmanship to Captain Marvel (Monica Rambeau) during this run and CM proves to be a very good choice. The collection also includes the Avengers/X-Men mini-series and the Emperor Doom graphic novel. As is always with these collections, it represents exceptional value for money and I can’t recommend it highly enough.
Yes, I know it’s a couple of days late, but I do sincerely hope you have a fantastic 2017. My 2016 was pretty good, all told. My granddaughter is gorgeous and healthy and it’s a joy seeing her grow and begin to explore the world around her. Although teaching is as hard work as it’s always been, I’ve enjoyed it more this year than I have in a long time, despite the efforts of government, OFSTED and other related personages. I’ve also been honoured to help out at my Mum and Dad’s church doing some preaching, teaching and ministering to some great people. I hope to be doing a lot more of that over the coming months. For the last couple of months, I’ve been doing some voice work for a fantasy and sci-fi publisher that I’m very excited about and still can’t quite believe is happening. When I’ve got something more concrete to tell you (or, more accurately, show you), I’ll let you know.
I’d also like to very quickly give a shout-out to the group of people who have made the last few months of 2016 much more enjoyable than they really should have been – the fine folks at Weird Science DC Comics and the Get Fresh Crew of assorted fans, contributors and followers. If you haven’t heard a 10+ hour podcast about the week’s DC Comics output and have the curious desire to do so, the Weird Science DC Comics Podcast is for you. I’ve loved listening to their podcasts and chatting with some great people on a dizzying variety of platforms. Weird Science post a huge number of reviews on their website (and not just of DC Comics either) and also host not only their own podcast, but an excellent series called The Cosmic Treadmill which looks at individual issues from the past, hosted by Chris Sheehan and Reggie Hemmingway, who are two of the most knowledgeable comics fans I’ve come across. For fun, thought-provoking comic analysis, and a great sense of community (and a fair amount of nonsense along the way) Weird Science DC Comics is the place to be.
This year I’ve tried to do more with the blog. I’m not really interested in making it a premier comic book or science-fiction site on the ‘net (there are plenty enough of those already) – I’m just using it as a place to discuss comics, books and films that have interested me in one way or another. To those who have taken the plunge and decided to follow me and/or comment on the reviews and articles, a big “thank you”. Your views and comments are very much appreciated. Hopefully, this year there’ll be more regular content and, perhaps, more varied content, too.
All the best! Roll on 2017!