Final Crisis #1

DC Comics' mega-event of 2008 is the Grant Morrison penned "Final Crisis". The first issue hit the stands Thursday, and I picked up the issue Friday.

From what I read, I would never recommend that the issue be taken as an entry-level comic to the DCU. The story is mired in DCU characters and continuity, and asks that readers have been paying attention to recent output from DC, but also picking up key collections as they've been released of late.

None of that is intended as a criticism. At some point, you're either allowed to tell stories for people who have been following along (see: Lost, BSG), or you're stuck in the perpetual cycle of episodic storytelling, where the reader can pop in and it doesn't matter if they're familiar with the concepts and characters before tuning in (see: Law & Order, most police procedurals).

The story actually seems to make events such as the abysmal "Countdown" make some sense, as well as the uncompleted, unnecessary "Salvation Run". It embraces characters from Kirby's 70's run on New Gods, Anthro and Kamandi, while seamlessly embracing recent events in the DCU, such as Johns' introduction of the Alpha Lanterns in Green Lantern. Morrison also plays with some of the toys he created during his mega-series "Seven Soldiers of Victory", and its probably worth returning to your issues or collections of that series to get an idea where he might be headed.

But what I've always enjoyed about Morrison's stories is that, despite the need for our heroes to win, his set-ups don't tell me how the story will unfold in a neat pattern I can consume with the predictability of a McDonald's meal.

Unlike Marvel's competing event "Secret Invasion", "Final Crisis" isn't telegraphing the ending before the story has started. I am picking up both series, and, honestly, compared to last year's "Civil War", I've been a bit let down with Secret Invasion since sometime last fall when Elektra was revealed as a Skrull in "New Avengers".*

I've already read considerable negative noise in the blogosphere on "Final Crisis", and much of it is a reminder of the grim state of the monthly comic. A lot of it seems to bemoan that the reader isn't able to jump into the story with page 1, which seems a bit unfair. Morrison does what he can to provide exposition without recounting 40 years of DCU history.

As I mentioned, I don't think this would be a great first comic to hand to someone, but I also don't think that asking readers to pick up on contextual clues or have the slightest bit of knowledge of the DCU as a comic reader is that tough of a request.

But to address some particular resurfacing internet complaints:

(a) If you have to ask who Dan Turpin is, well, bone up on your Kirby and New Gods reading, or just check Wikipedia. (b) Maybe if the reader continues to follow the series, s/he will be rewarded with knowledge of who characters are and what is going on.

(League special nerdy snark: If some are confused by "new characters"/ obscure characters (gasp!), you might want to note that DC is telegraphing to readers what MIGHT be important in upcoming storylines by what its including in its re-release of older material.)

The art of the issue, by JG Jones, is phenomenal. He seems to have a tremendous ability to meld the mundane and the fantastic, and portray them side by side without either seeming silly (and did you see his Metron?). The coloring is excellent, the rendering and composition top drawer. I've mostly known Jones as a cover artist, but I'll need to do some research and see what titles he's previously handled. It's not the same hyper-realistic style we'd see out of Ross's watercolors, but there's always room at the table for terribly talented artist.

This issue included a lot of what I've found exciting about the DCU. The New Gods, The Question, Green Lanterns... and a history that extends back to the cavemen with Anthro and Vandal Savage, all the way to the 31st Century and beyond. This issue only plants the seeds of what could be a great series, but the pieces are in place. Fallen Gods, Red Skies... Color me intrigued.

I guess the watchword I'd share on Final Crisis is: Patience. Comic nerds can be such an impatient lot, insisting on instant gratification, plotting and pacing be damned. Just get to the fights, and don't ask the reader to work.

It seems the same lack of patience which has marred many reader's experience during the current, phenomenal run on Morrison's Batman (which is taking the better part of two years to come to a head) may also rain on the parade for Final Crisis.

What readers seem to forget is that super-hero comics are often plagued by writers and story lines that start promisingly, but end with a whimper. Look at virtually any 90's era DC cross-over, from "Final Night" to "The Death of Superman", and you'll see potential squandered as the big ideas come out of the gate first, and its all about the writer trying to scramble once they've got the reader's attention. And, honestly, I kind of felt that way about issues 3-6 of Marvel's Civil War (for this reader, the outcome that seemed most logical won out).

So give Final Crisis some time. Give Morrison's Batman some time. And, for God's sake, give All Star Superman its due. We're getting great comics from the guy, and it feels like we're headed to a point where DC has trimmed the excesses of the post-Infinite Crisis DCU and is finding out what really works.

And I think Final Crisis, given time, will define what that will mean for DC Comics for the next few years.




*Really, the story of Secret Invasion, to anyone who'se ever watched TV, should play out as a big superhero slugfest which will involve super-heroes realizing their teams have been infiltated by spies, go through unease that comrades have been aliens/ bodysnatchers/ commies/ what-have-you, and it will all end in a big fight where the heroes team up and push the enemy out into space. It's all very "They Live". With superheroes instead of Rowdy Roddy Piper.

Countdown and Death of the New Gods: A fanboy rant

Well, so that's over.

I want to be be clear here as this post begins: Will this post come off as fanboish, and all that fanboyishness implies? Yes.

For readers who are not following the DCU, two years ago DC Comics launched a series entitled "52", a weekly series, each issue encapsulating a week in the life of the DC Universe. While interesting, its not clear that 52 managed to fulfill its goal of giving the reader an eagle's eye view of the DCU and the new status quo following Infinite Crisis.

Selling almost 100,000 copies every week seemed like a pretty significant success for DC, and so they followed with "Countdown".

I have a number of issues with the current administration at DC Comics, but many of them can be boiled down to two points:

1) DC has seemed far more interested in "stories" cooked up as editorial, status-quo-changing ideas rather than as organic tales with a natural arc from point A to point Z. It seems as if Didio and Co. are much more interested in where the characters will end up, rather than how they managed to get there. Which, correct me if I'm wrong, is sort of the point of telling a story.

Instead, DC has determined finishing points for their characters and don't really seem to care whether or not plot points B-Y make any sense, or occur in any particular order. Or, whether its a satisfying read with an engaging narrative arc.

Countdown has not been the only offender.

2) Unable to convince the DC A-list writers and artists to get on-board with this cockamamie scheme, Didio rounded-up a team of writers that never met an idea of Didio's they didn't like. It's my guess that Dini may have plotted the original Countdown story, but it was this team of writers that put words in the character's mouths and came up with the execution of the action. Unfortunately, these were mostly DC's B and C-listers. The guys who seem willing to take on 2nd and 3rd tier books and who are asked not to mess up the character too much until someone else takes over the title in order to boost sales.

In my opinion, the issues you'll see in the rant below trickle out of the above two issues.

The concept behind Countdown was that it would act as the "spine" to the DC Universe, and idea I've always felt was a pretty good idea. A central book which would reflect and define the events of the DC Universe. I now see that idea was not one of my better ones.

The troubles started with the absolutely abysmal cross-over "Amazons Attack!", which was supposed to be a major event, I guess. Unfortunately, it was terribly executed, made no sense, and reflected how little thought had really gone into Wonder Woman by the DC powers that be with the Infinite Crisis re-launch.

Add in the side-events, such as the death of Bart Allen, and Countdown was a colossal trainwreck this year for the DCU. The idea of tying the books together didn't really work. And shouldn't work over the course of a year. At best, that's a one month event editor's should try every year or two. If not less frequently.

Marvel's Civil War may have succeeded far better for one single reason (aside from the writing, and there being a point): Something explicit was happening in the Marvel Universe, so each character had an opportunity to react to it. Countdown chose to be a story of covert happenings and occurrences on other-dimensional versions of the DCU Earth. From the first issue, there was never anything for the characters in the other books to actually react to. Certainly there was no sense that anything was "Counting Down".

One of the funnier things, to me, about the whole Countdown debacle started when I was writing for Comic Fodder. Contributor Jason C. had proposed we write a series of alternating articles, ostensibly about Countdown, but to never actually discuss Countdown in the articles. "Because", he explained, "Countdown isn't about anything." I think I understood at the time, but Jason C. has a PhD, and I do not, and so it was that every few weeks upon closing an issue of Countdown, Jason's words would come back to haunt me.

For a sampling, go here and here of what was to be a year-long meta-joke, that only ran 6 installments.

Structurally, Countdown broke down almost every issue to show you what was going on with some aspect of the "Countdown" story. There was a storyline featuring a rogue Captain Atom as "Monarch", forming a trans-dimensional army to do... something. With a character called Forerunner, who was... supposed to do something...

The "Challengers" were supposedly hopping from Earth-to-Earth across the DC Multiverse in order to find Ray Palmer. There was a mysterious tattoo we were supposed to learn more about, that looked like the symbol of The Atom. The Challengers were made up of Donna Troy (DC's answer to the lifeless student council president), Kyle Rayner (the fifth wheel of the GL Corps), Jason Todd (who should have stayed dead), and a Monitor.

The Monitors were supposed to care about people jumping from world-to-world, but why they cared was never made clear.

Darkseid was up to... something.

For some reason Karate Kid and part o Triplicate Girl from the Levitz/ Giffen era Legion was there. And had Space Herpes.

Jimmy Olsen (one of my favorite characters of the Silver Age) was involved, probably to revitalize Jimmy as a character. Unfortunately, the writers seemed to hate writing Jimmy, and never bothered to give us a reason to like Jimmy or care.

Harley Quinn and Holly Robinson, two characters who've never been that popular in the DCU, were death marched through a nonsensical plot that I'm embarrassed to even describe, and came off as equally grating and useless to the entire Countdown story.

Speaking of useless, Flash villains Trickster and Piper shared a storyline that was supposed to give off the same spark as the movie "The Defiant Ones", but came off more like "Fled".

And, of course, the character self-immolation DC felt was necessary for Mary Marvel, the only non-whiny female teen in the DCU (well, I guess we have Misfit now over in BoP).

A few things:

-It seems that none of these storylines would have been approved by DC as a 6-issue mini-series, so why they were part of DC's YEAR LONG, 52 issue event is a mystery.

-It seems that having a writer who was passionate about any of the stories might have been to the overall story's benefit. Instead, rotating through writers every week... didn't work. I can't shake the feeling the lack of enthusiasm stemmed from the D-list level of characters, and, of course, the fact that the story made no sense.

-Somehow the series lasted 52 episodes, and yet we learned nothing about the characters. How does that even happen? The one character who actually HAD a character story-arc was Mary Marvel, and her awakening was literally magically infused.

-The characters carry a person with a deadly virus all over the place instead of just quarantining them. Plus, if you're familiar with how diseases spread, kids... pretty much the whole JLA/ JSA and the DCU should have been infected as Karate Kid should have been contagious before showing any symptoms. Plus, when, where and how did he get infected?

-The plot was not just all over the map, it was across 52 maps. Not a single storyline had a satisfying conclusion. In no way did the events of the final seven issues or so really tie into the first 40+ issues. Instead, our protagonists just stood around watching events unfold on Apokolips, on Earth-1, on Earth-52 and sort of through the whole series, really. Aside from mindless brawls here and there, did anybody actually DO anything in this series?

-The whole Morticoccus thing was just awful. As was Brother Eye/ OMAC. What was I supposed to get out of that? Where in continuity Kirby's ideas came from? From frikkin' Karate Kid?

Oh, DC. Do you ever write these things down, sleep on it, and look at it in the morning to see if they make sense before you start writing the script? Because it sort of feels like the whole story was the result of cramming for finals on too much coffee and No-Doze.


I'm inclined to believe something pretty major happened at the DC offices somewhere around week 15 when they realized readers were staying away in droves. It can't have helped that writers on other books were having a bear of a time trying to tie back into Countdown in some way, when the story wasn't really much of a story.

Unfortunately, DC was more about saving face with keeping the weekly machine going, rather than actually fixing the problems of Countdown. Or someone grabbing the editor and asking him if he actually asked what the story was before the damn series got started.

To add insult to injury, DC launched several companion series, many of which I began reading, and stuck only with "Death of the New Gods" through to the end. I am sad to say I was not enjoying Steve Gerber's work on Doctor Fate prior to Gerber's death, but after the very straightforward and interesting idea of Kent and Inza Nelson plus helmet was tossed to the side, I'm afraid yet another adaptation of the Fate idea just wasn't working for me. At all. Nor did "Countdown to Adventure", that Lord Havok series, or whatever else they were throwing my way.

In truth, "Death of the New Gods" reminded me why I'm not much of a Jim Starlin fan. Starlin has a reputation for the cosmic, but when simultaneously reading Kirby's original work, side-by-side with this series, Starlin comes up far, far short in understanding the characters, dialog, and energy that Kirby put into the original work.

Like Countdown, Death of the New Gods seemed largely plotless, and the reveal of the murderer wasn't just disappointing, but a smear on the work of Kirby and the many writers who have come after in an attempt to keep Kirby's flame alive.

Countdown could have been easily read and enjoyed without Death of the New Gods, but would have left An early issue or two of Countdown, and Issue 2 of Countdown feeling a bit out of place. Not that the conclusion to Death of the New Gods and the events of Conclusion match up in any satisfying way...

In truth, Countdown and Death of the News Gods each turned out to be enormous disappointments. And the worst part is, because I took a risk, week after week, believing DC had a plan in mind, I was going to get something out of all of this when the story wrapped up. Unfortunately, that wasn't the case. Which means I'm out a lot of money for collecting both series.

So what to do now?

DC Universe Zero comes out Wednesday. Is a single issue, and written by Johns and Morrison. And is 50 cents. So I'll pick that up. I'll pick up Final Crisis, mostly because I trust Morrison.

As per DC's next weekly series... I'm picking up the first four issues. I trust writer Kurt Busiek to an extent, but I'd be foolish after this debacle to keep going back to a weekly series and expect that DC had a master plan in mind if its looking like they really don't.

I might swing a bit to the left, but I believe capitalism works. When i used to write at Comic Fodder, i would always encourage readers to "vote with their dollars". In a way, I did vote with my dollar. I voted that I had confidence that DC had a plan, and I wanted to be on board to see what that plan was. So I took an expensive gamble and I lost.

Do I feel like a sucker: I didn't. Not until that page where the new team of The Atom, Donna Troy, Jimmy's insectoid ladyfriend and someone else decided to front with the Monitors, which I totally didn't buy. At that point, I was left wondering where the hell they came to the conclusion that the people who stood by and watched two worlds die were going to (a) hold anyone responsible for stuff that, really, had nothing to do with the Monitors, and (b) how they were going to do something now, when they hadn't done anything before. At that point, I felt like a sucker, because I realized DC had spent the entire Challengers storyline setting me up for a series that sounds very much not up my alley, and I'd give 12 issues before cancellation.

What DC can do for me:

52 left a lot of hanging threads. The Island of Mad Scientists. Lady Styx. Steel. Do wright by these. (And Infinity Inc. is not, by definition, doing anyone any favors).

If you want to do a weekly comic, think about a new format. It doesn't need to be a year-long. Think anthology. Think classic Showcase formatting. I'd read a weekly book featuring c-list characters, especially if I knew storylines were going to wrap up and not last for 52 issues.

Pay attention to what made The Sinestro Corps War story work in Green Lantern and GLC. Note how it didn't have a multitude of mini-series tied in. Note how the story built out of characters and character motivations, and not just "let's make Mary Marvel Evil".

DC does have an aging audience of older readers who have seen it all. The references to older events in Countdown were interesting, but you can't base a storyline around nostalgia for work that is significantly better than what you're putting on the page. Don't remind me you're nowhere near as talented as Jack Kirby by trying to use his ideas, or that you're not even as much fun as the old Superman's Pal comics by referencing Jimmy's many transformations.

Signs indicate that DC has learned many lessons from Countdown. Heck, the latest DC Nation column read something like an apology for Countdown (not yet online).

So I don't count DC down for the count yet.

If you take a look at the line, the Batbooks are the best they've been since I started reading Alan Grant/ Norm Breyfogle and was wowed by Jim Aparo's Dak Knight. The Superman books are in good hands and seem to be headed in a clear direction, with a new continuity that ties in the best of all the eras of Superman. Green Lantern is amazing. Gail Simone is pulling Wonder Woman out of the gutter, and simultaneously talking to previous authors of Wonder Woman about what made the character work for them. Justice Society is a great read every month. And Justice League ain't half-bad, either. Even the formerly luke-warm Legion series is a page-turner. And I really dug the latest Suicide Squad run.

Count me in for Morrison's work on Final Crisis.

It's too bad the "spine" idea didn't work out, but I understand why it couldn't. I just wish it hadn't set me back so much dough.

Titans #1 v. Tiny Titans #3

In the mid-80's, Teen Titans and X-Men were the go-to books of choice for many readers. Both were team books. Both featured a youngish cast with problems from a soap opera, littered with decent villains. Both had writers which planned long term and built a universe within the book.

My first exposure to Teen Titans was actually in a DC anthology, published in a smallish format called a "Blue Ribbon Digest"* (they'd reduced the page size). The reduction probably didn't do George Perez's art any favors, and the issue was not about non-stop action, but rather... the wedding of Donna Troy to some bearded dork named Terry. I would be college before I would consider the matching of a nebbish dweeb to an Amazon princess to be an odd pairing, and to this day I think its the creepiest thing to ever occur in Titans.

Titans sold big numbers back in the day, but, as these things occur, somehow the fanbase drifted away. Including myself. I don't know if it was a change up of creative teams, change up of the roster (I recall being confused and annoyed by the "Danny" character), the conclusion of too many threads by Wolfman leaving them grasping at straws... And I've heard weirdness about the decision in the 1980's to make Titans a direct market book, which seems almost suicidal in the age of the spinner-rack and before most readers were old enough to have a driver's license. I think DC and Marvel, in NYC, often lose sight of what it means to not have public transportation readily available to get the kids to a comic shop.

Many, many incarnations of the Titans have resurfaced since the 80's run drew to a close. Aside from the Geoff Johns penned run of Teen Titans (circa 2003), none have really taken off. Even that "Teen Titans" series eventually became a plotless slugfest with underdeveloped characters who whined relentlessly. And, it didn't star the Wolfman-era Titans, anyway.

Titans #1

The new series picks up the action from the Titans East one-shot which ran several months ago to absolutely no fan reaction. Penned by Judd Winick, he of the "let's bring Jason Todd back to life" plotline, the narrative of the issue is entirely dependent on a huge amount of a priori knowledge by the reader. In fact, for a number 1, there's literally no way a reader would be able to follow this issue without a whole lot of DC comics at their fingertips. It references the series "52", Countdown to Adventure, 70 years of Batman comics, recent storylines/ mindless violence of Teen Titans, the Titans East one-shot, JLA, the Flash comics, etc... And while all of those should be respected by a writer on a team book, assuming the reader is up to speed is a mistake. Further, the conclusion of the issue references a run of Titans which occured more than twenty years ago. Twenty (actually, something like 24 years ago).

It's not a big deal to do this in comics. Dusty, bench-riding characters re-appear all the time in comics. But the normal MO is to drop some exposition and treat the reader coming to an issue marked #1 as if this is a brand new comic. I'm not sure this would prevent this reader from believing that Winick has made a career at DC out of taking decent concepts from the past and recycling them and/ or putting a pretty bland spin on them. In any case: what is DC saying by assuming new readers will be up on a 20+ year old story? And begin the action as if this were just another mishap in the lives of the original Titans?

The gravest mistake Winick makes is going for the tried-and-true mode of bringing a team together by having all of them randomly attacked by a former villain who has returned from the grave. I feel a bit cheap criticizing this tactic as Morrison ingeniously used it in recent issues of Batman, but perhaps that's the difference between Winick and Morrison's skill level.

Add in Churchill's cupcake skirt cheesecake art, and there's nothing to love here.

Given Winick's tendency to sort of muck up a lot of good concepts (the ScareBeast? Really?), and the retreading of the Trigon story, which seems as if its pretty well-worn territory at this point, I'm not in for issue #2.

Tiny Titans #3

For Leaguers looking for (a) a comic they can put in the hands of their kids, or (b) a genuinely funny, if a bit adorable, read... Tiny Titans is your comic.

Tiny Titans is intended to reach kids well under the median age of comic readers, and should be aimed at 4-10 year olds. Little kids will like the pictures. Olderkids will like the hi-jinks and school setting of the series. It features Titans from all eras of the Titans, from Rose Wilson to Kid Flash (Wally).

The concept is fairly simply: There's a school where the superhero kids go. It's just plain old school, not superhero school. The villains of Titans are cast either as teachers or rival kids within the school (Deathstroke is leading Show and Tell, which is hilarious in and of itself). Titans are mostly a bunch of goofy kids in capes and masks with powers which are best for goofing around, and not necessarily crime-fighting.

It's a cute comic. I'd hand it to a kid in a heartbeat. If they don't get the jokes, well... woe unto them.

I suspect that if the indie crowd found Tiny Titans, it could be their only non-Vertigo DC title they'd pick up, especially thanks to the little in-jokes and whatnot that pervade the comic.

Highly recommended.





*Why DC does not publish a similar sort of anthology these days is beyond my ability to comprehend. This WAS my gateway drug to the DCU. It fetured Legion, Outsiders, Infinity Inc. and the Titans. Looking at this page, it looks like, had I found more of these, I would have been into DC many years earlier.

I just think its a neat format, and the price point seemed like a good entry for folks wantuing to try some stuff out.

Comic Book Make League Cry

I know it doesn't really matter if I beg or plead with my good Leaguers... You're unlikely to pick up a comics just becasue I say so.

But if the League may recommend: All-Star Superman #10

The League is not made of stone, and every once in a while we're also particularly tired and/ or not feeling well. And in those moments, well, we confess a tear or two might creep to the edges of our otherwise manly, manly eye.

Things in comics that made me cry:

-The death of Hippolyta in Wonder Woman. Poor, poor Diana. For the love of God, comic nerds, be good to your mother. You never know when an evil space tyrant is going to take her away.

-We3. Pretty much every panel of every page of We3 had me sort of teary. It's partially due to something about how Frank Quitely draws, and partly because I'm a sucker for animal stories.

-Lois's face when she sees Superman again at the end of New Frontier. Sometimes someone actually understands Lois and Superman, and Cooke knocked it out of the park. Sadly, the movie didn't really capture the moment in quite the same way.

-Promethea. When Promethea turns to the reader and speaks to them in the penultimate issue of the series. This series was so underrated and under-appreciated in its time, its a crime. Moore truly succeeded with pushing the boundaries of reality on this one, and his collaboration with JH Williams is one of the finest examples of art and words mixing as they can only in comics that I've had the privilege to see. What Buddy Baker began with his "I can see you" business reaches a new apex.

Also, maybe one day Jamie will let me hang my two Promethea prints.

Amazing Spider-Man #36 - It's tough to imagine with a few years of separation, but in the wake of 9-11, Marvel Comics interrupted the storyline of the Spider-Man comics to tell a story devoid of cynicism, and which captured some small aspect of the tragedy of 9-11. And just as it uses the eyes of Spider-Man to capture the helplessness of the day, we also see the determination of the real heroes of 9-11 reflected in the story.

Had this story been printed now, it would seem odd, manipulative, and in questionable taste to use the very real tragedy of 9-11 as a backdrop for a tale of the wall-crawler. But at the time... And even today as the tragedy of 9-11 fades from view with the passage of time, it will be a time capsule of how we reacted in the days, weeks and months following. No doubt some readers will feel it absurd, even insulting that Marvel would have dared to tell a Spider-Man story, but that is now. This was then.

There are also stories of how quickly this comic was produced, hitting the shelves by November, 2001. Indeed, you can feel the urgency of the story, and the raw feelings of a true moment in history and how Marvel tried to come to grips with what was the only thing on everyone's mind.


Laika - Is there anything more likely to make you cry than shooting a puppy into space with no plans to bring it back? Reall, you could probably get my lower lip trembling just asking me to tell you what our Russian friends did to get something alive into space before the US of A.

This is, also, a great comic. I highly recommend.

First in Space - America's inability to treat its own non-human astronauts with John Glen-like-respect gets its own treatment in this true story of the US's first chimp in space, Ham. Suffice it to say, The League's feelings regarding poor treatment of chimps, especially when its a true story, are perhaps stronger than we care to admit.

Anyhoo...


All-Star Superman #10 managed to fall somewhere in there. And for Superman fans, Morrison and All-Star Superman have been nothing less than a gift. Each panel reflects more understanding of who Superman is and what that should mean rather than the mere caped do-gooder too many writers have fallen back on. The essence of what fans find in the character is omnipresent in each of Quitely's perfectly composed pages.


As with We3, and parts of new X-Men, Morrison and Quitely seem to have a synergy few other writer/ artist teams seem able to capture. Quitely manages to convey the quiet magic of Superman's world in a manner that seems to have been lost since the days of Curt Swan, with broad expanses necessary to contain the Man of Steel. His renderings of each character's expressions rival Kevin MacGuire for internal monologue.

The ideas and understanding of what a Superman would mean to the world, and what responsibilities that Superman would feel pervade the issue. But to tell it is to give the moments away.

Perhaps when the series is completed and collected, I can recommend the trade collection. In the meantime, you're missing out on one of the best comics on the stands. If we get a little misty when reading All-Star Superman, we hope you'll forgive us. The same thing happens whenever I watch Superman and they do that pan over the Kryptonian landscape.



The League doesn't mind shedding a few tears now and then. We're sensitive like that.

As much as I love getting a good laugh out of a Jimmy Olsen comic, every once in a while, its nice to know comics can be a powerful enough medium to involve us enough in the characters, in their worlds, to maybe do a bit more than tell another tale of fisticuffs and heat vision.

Comics You Should Be Reading: Action Comics

The League was reading some of his weekly stash of comics last night, and I was reminded that while one of the primary missions of The League of Melbotis is a forum for my Super-Fandom, I don't always mention the comics.

I stick with the Superman titles through thick and thin, sort of like a Cubs fan might stick with the Cubbies. And just as a Cubs fan might get very excited when they enter the play-offs, so do I get excited when the comics are on an uptic of quality.

Writer Geoff Johns (Green Lantern, JSA, etc...) was once a film-school graduate working as an assistant to Richard Donner, director of Superman: The Movie. It took Johns a while to work his way through the DCU to his current position as writer of GL, Action Comics, and pretty much any other property he wants to get his hands on.

Honestly, when Donner and Johns took over on Action Comics, I was a bit skeptical. Johns' love of Superman was well-known, and I was concerned he would be too concerned about making a wrong move and begin on a forgettable run. But that wasn't the case.


The Up, Up and Away storyline ran through Superman and Action Comics in mid-2006

Johns teamed first with writer Kurt Busiek for the first One Year Later storyline "Up, up and Away", a storyline which re-set the status quo for Superman and the World of Metropolis. After that, Johns and Donner moved into telling the story "Last Son", which would introduce the triumverate of Zod, Ursa and Non to the comics for, really, the first time. (Zod and other Phantom Zone survivors had appeared in the comics during the Bronze Age, from the Weisinger and Schwartz eras of editorialship, but the trio seen in Superman: The Movie and Superman II were somewhat an amalgamation of characters seen in the comics.)

"Last Son" was a fascinating storyline, but... artist Adam Kubert ran late with his issues, winding up with fill-ins during the middle of the storyline, and culminating in the single, 3D issue of Action Comics 851 (which was cool), but the storyline broke precedent and never actually wrapped up. Apparently series artist Adam Kubert, who had been announced as coming onto the comic with huge fanfare, simply wasn't keeping up with his duties. Kubert helps run the Joe Kubert School of Cartooning, and who knows what else was going on in his private life.


A Kubert Action Comics cover

Unfortunately, despite the engaging story, the delays made the comic impossible to recommend, and shook my faith in what Johns was brining to the title. A few fill ins and an unexpected Annual issue later, and the series was back on track with Eric Powell drawn Escape from Bizarroworld.


Powell's work on the JLA of Bizzaroworld

With 52 concluded and Teen Titans no longer on his plate, Johns seems to have found focus on both Green Lantern and Action Comics. Donner is no longer on the writing team, and it may be a case of Johns slipping backward into fanboyishness... But the current storyline "Superman and the Legion of Super-Heroes".

Superman is asked to return to the future of the 31st Century, re-establishing continuity lost during the Crisis on Infinite Earths and with the Byrne/ Wolfman reboot of the Superman titles with Man of Steel. He learns that an "Earth First" movement has meant that the true story of Superman, now 1000 years in the past, has been co-opted by the movement and changed so that the people of Earth would believe Superman was born on Earth, denying his Kryptonian heritage. They are using this as part of an anti-alien propaganda, which is leading to war between Earth and other planets of the 31st Century.


Gary Frank's art on the cover of Action Comics

It's a good read, despite some gaps in logic that could use some explaining. The action is fast-paced, and while it's certainly rewarding to know a bit about the Legion, it's not a requirement for getting into the story. The threats are understandable and of an appropriately enormous scope for a Legion and Superman story. There's a common complaint in comics that the fanboys are now writing the comics, and that's inherently bad for comics. But in the case of Johns, his understanding of the publishing history of Superman and the Legion helps to make a textured read with a good understanding of character and character motivation.

Add in the pencils of Gary Frank, whose style one might compare to a less cartoonish Steve Dillon (sharing the love and mastery of the facial expression), mixed with detail of far more naturalistic artists, its a great look for the title. Especially as Frank has internalized Christopher Reeve for his version of Superman, and gives the reader a Superman with distinct facial characteristics.

You may still be able to pick up this storyline from the first issue at your local comic shop, or may wish to wait for the inevitable collection. Either way, now's a great time to be jumping into Action Comics.

Comics You Should Be Reading: Captain America

America, @#$% YEAH!!!

So, you may have heard several months ago: They killed Captain America.

What they did not tell you is that the 24 issues leading up to the Death of Captain America and the subsequent issues following have been absolutely engaging reading.

I thought I'd post on this, thanks to this story which ran today on CNN.com.

Writer Ed Brubaker took over the reigns on the flagship title for the Sentinel of Liberty, relaunching the series with a new #1. I was familiar with Brubaker from his work, mostly, on Gotham Central (perhaps DC's most underrated title of the past six years), and had read a few other comics he'd penned, and had planned to follow him to Marvel. I did pick up issue #1 of Brubaker's run, enjoyed it, and planned to pick up the collections of the series... But somehow I never got around to doing so.

And then I heard they were bringing back Bucky.

Bucky was Captain America's youthful sidekick in the original comics sold during WWII, but he'd never been part of Captain America since Atlas/ Timely became Marvel. It had been explained that Bucky was killed during the final mission in which Cap, himself, fell into the sea to be frozen until found and thawed by the Avengers. Wacky stuff, but, you know... you grow up with an idea and it doesn't sound totally weird.

Anyhow, Bucky's death was canon, and for whatever reason I took exception to the idea that they'd bring back Bucky Barnes. His death was as fundamental to the mythos as the death of Jason Todd had become to the Bat-comics. Well, of course, we know what happened with Jason Todd, and so perhaps having Bucky around didn't seem that crazy.

Brubaker's take on Cap isn't so much superhero as super-soldier. Or, more specifically, super-anti-terrorist operative. World weary, but with a certain optimism and faith in what he's doing, it makes for a good, three dimensional character behind the shield.

The plot is not convoluted in the way so many comics can become, but rather feels novelistic. There's a lot going on that doesn't require punches to the head (although those happen, too), and there's a good story. Good enough that, in the telling, the return of Bucky feels less like a stunt to draw in readers, and more like one of the unfortunate side effects of the world Cap's been a part of since WWII.


The New Cap

I have to thank Nathan Cone for pointing me back towards the series. Part of why I picked up the Omnibus was that Nathan told me he was reading the series and was still very enthusiastic about it.

You may be aware that Cap was killed some time back, but that story is just as fascinating to watch unfold. Unlike the impenetrable and winding plots of the Death of Superman and World without a Superman stories, the post-Steve Rogers world feels organic, and as if the characters are acting from a real sense of loss and grieving (which, in superhero comics, rarely means sitting around crying).


Anyhow, pick up Brubaker's Captain America.

You Should Be Reading: BLUE BEETLE

I was as bummed as the next guy when DC killed off Ted Kord in the event comic "Countdown to Infinite Crisis". And I think, in some ways, DC knew they'd kind of made a mistake. They'd finally put the spotlight on a character who was almost universally loved, but who had a hard time making it as anything but a supporting character. But certainly, the fanbase liked the character and wanted the possibility of having Ted in more stories.

Ted Kord as Blue Beetle was just fun. He was Batman with none of the trauma, cool gadgets and a fun pal in Booster Gold. What wasn't to like?

I'm happy to report that, in spite of the end of a great character in Ted Kord, DC's replacement wasn't just some half-baked replacement so they could put out a new #1 and temporarily lift sales. DC introduced a whole new concept with the creation of Jaime Reyes, a 16 year old living in El Paso who has merged with the Blue Beetle Scarab once owned by the first Beetle, Dan Garrett, and the second, Ted Kord.

I was originally skeptical. Both Marvel and DC had been trying to catch lightning in a bottle again since Spider-Man hit the scene with a constant stream of teen-agers with varying degrees of tragic backgrounds and mopeyness. The formula had never really managed to coalesce again, but that didn't mean teen-book after teen-book hadn't hit the shelves.


Jaime doesn't always handle all of the threats he faces with the calm, cool nerve of an action hero.

Blue Beetle tried something a little different. Jaime wasn't an edgy kid, he was a good kid who lived with his parents and had a fairly standard relationship with his folks. He even told them about his Beetle-powers right off the bat. Further, he had supportive friends, also in on the secret identity, and stayed in El Paso, rather than immediately getting shipped off to some other town that the writers might know better.

Perhaps because Jaime isn't moody or depressing, its a bit easier to believe he's tossed himself headlong into the superhero business with his family's support and a bit of fun rather than because he's suffering from crushing guilt.

Moreover, John Rogers has managed to tell a fairly expansive story without undue decompression, and after providing several pieces along the way, the story of Blue Beetle is finally coming to a head.


Beetle keeps good company. This issue featured Beetle and Superman visiting Austin, for which the artist had no references.

Honestly, if DC is looking for a property they could easily bring to other media, the latest version of Blue Beetle is it. The generational aspect of the character might be fun to explore, but I think audiences would also really respond to not-just-eager-but-uncertain hero Jaime Reyes. Throw in one of the best supporting casts in comics since Clark Kent met Lois Lane, and there's a lot there.

I don't know if DC and writer Keith Giffen knew exactly what they wanted to do for the first few issues, but when the comic was handed over to John Rogers and the armor changed from so weird it was thought to be magic to a sci-fi angle with global consequences, it's been one of the comics I pick up first from my stack every time it comes out.

I should also add that there have been occasional guest-written issues, and those have been fun as well. I think that already the character and his environment are well-enough defined that guest writers can step in and keep up the spirit that Giffen and Rogers have worked to define.

Check it out. Blue Beetle is a good read.

Plus, really, the armor is totally cool.

Hello

I may go see Fred Clause. Just to annoy other people.

Jeff the Cat had a few teeth pulled this week. He is doing very well and doesn't seem to miss them.

Carla made very good cupcakes. I bring this up not just to say Thanks!, but to point out that she's launched a new site, Dessert Lounge!

My folks were in town this weekend once again looking at property. This time, they may have even found something.

I slept a lot this weekend.

We walked the dogs. That was very nice.

I also read comics.

I ran into a co-worker at Austin Books.

Jason bought an X-Box and Halo.

I didn't watch the UT game and am regretting that decision. I did watch the Colts game and the Dallas game.

I briefly did some work.

The weekends are too short.

SOME COMICS I ENJOYED

Action Comics 858: After Infinite Crisis, DC decided that it was a good time to join the past/ future of Superman together with the Legion of Superheroes once again. A great set-up, wonderfully drawn, and for those (like me) with a gap in their DCU knowledge regarding the Legion, this is a great read.

Batman 670: You can't keep a good Demon's Head down. I didn't like the loss of Bat-villain Ra's al Ghul, as al Ghul was always one of the more complex characters in the Bat-Rogues Gallery. Morrison is doing the most to redefine Batman's world of any writer since the post DKR-era.

Justice Society of America 10: Do you like Superheroes? Did you enjoy mid-90's DC project Kingdom Come? Do you like Superman? Can your brain handle the multiverse? I don't know why this volume of JSA is so much better than the previous volume, handled by the exact same writer, but... man. Every month when this title comes out, this is the first comic I read from the stack.

Crime Bible: The Five Lessons of Blood (1 of 5): Montoya is back as The Question. Cult conspiracies, hard-boiled detectives, Greg Rucka, Tom Mandrake... Worth a look.

Tales of the Sinestro Corps Presents: Superman-Prime: Uhm. Look, this just isn't going to necessarily be a great first comic for anyone to read, but it is a good read as it basically ties together the entire past of the once Superboy of Earth Prime.

Dropping Comics vs. Busiek on Superman

Preamble

One of the niceties of ending my period of comic blogging is that I can now drop comics that are bugging me without worrying about failing my own mission statement for Comic Fodder.

Focused on how much ass and whose ass is getting kicked, comic reviews usually offer very little insight into the narrative successes and failures of a single issue, let alone the how the single 22 page comic fits into the grand scheme of a larger shared universe. What this basically translates to reviewers who try to comment upon action and events in stories which they aren't following, and too often assume they're up to speed on through impressions and generalizations.

While reviewing for Comic Fodder, when an event would occur such as the ill-conceived "Amazons Attack" in the pages of Wonder Woman, Teen Titans, Supergirl and the titular limited series, the scope of the event was as such that I felt that I had to read every issue of the series and the cross-overs to assure myself and my readership that I had a good understanding of DC's editorial direction. Of course, nobody was paying for all the comics which I was buying and not really enjoying.

So, now that I'm no longer comic blogging, I'm looking to unburden myself with a lot of the chaff of the current output of the DCU. And, yes, DCU puts out stuff I am not necessarily going to defend. Occasionally, those books even guest star Superman, so the excess is especially vexing. With the mega-event of Countdown to Final Crisis on the playing field, DC has tried to milk me dry with tertiary one-shots and seemingly meaningless mini-series (did I really need a Lord Havok miniseries? And if it is important... can I not just wait for the trade?).



Drop: Wonder Girl Limited Series

But the series which I am planning to drop immediately aren't the Countdown spin-offs, which I hope to just not pick up again. The first issue of the Wonder Girl mini-series continues on the trajectory of insisting that Wonder Girl must be more annoying than the recent incarnation of Supergirl. Wonder Girl has always been ill-defined, but has come to represent the acme of what boys, by the age of 17, come to call a "headcase".

By the age of 18, most guys realize that a headcase is best ignored and avoided. So, why DC would decide to turn two of their most potentially lucrative teen properties into such grating characters for an audience mostly comprised of males, 20 and older, is sort of mystifying. Only, not really... DC keeps trying to find ways to reach teen girls who read Manga, and one might think that with the cartoony art-style, they're trying for some cross-over appeal. Unfortunately, they've tied their cross-over hopes to a miserably unlikable event and counted upon readers having followed Cassandra Sandsmark since Infinite Crisis.

I've lost count of how many times Supergirl and Wonder Girl have flown away in a huff or in a teary huff after a badly written seen in which they seemed to insult other, better established characters. Why the writers believe readers are looking for comics about teenage pity-parties is a mystery perhaps only Dan Didio can solve. Or maybe Jann Jones. But, man...

Anyhow, one issue was enough. I'm done with it. And am growing closer to being done with Teen Titans lest someone figures out how to re-jigger the title into something readable.



Drop: Batman Confidential

The other title I am disappointed to be dropping is the current "Batman Confidential" storyline. I'm not sure if this was originally intended as someone's screenplay for a Batman film, or what the story is, but writer Michael Green tells his version of the origin of The Joker, while blending in other elements, such as a pre-Scarecrow Jonathan Crane being responsible for the development of Arkham. Not too surprising he can't leave things well enough without feeling he can improve them as he's a TV writer/ producer (yes, he works on "Heroes").

Particularly depressing as the art is by Denys Cowan.

I'm all for various versions from different ages of comics as to how things came to be, but... honestly, does DC think that this Green guy is writing a better story than either Moore and Bolland's The Killing Joke (or its red-headed step child sequel, The Man Who Laughs, or the follow up to that story in Gotham Knights: Pushback?), or Morrison's amazing early 90's take on the origins of Arkham Asylum in "Arkham Asylum: A Serious House on Serious Earth"?

Perhaps Didio and the editors of Batman Confidential are a bit more on the concrete side of the fence when it comes to thinking. Surely they didn't lighten up on the why's and wherefore's as this new take on the Joker's origin is more bloody, in its way. Perhaps less traumatic a read, but... it takes the murder spree of the pre-Jokerized "Jack" as casually as the hitman himself.

And, honestly, the failed, tragic comedian of The Killing Joke was a far more chilling origin than a bored sociopath, anyway.

At any rate, these are two books I'm dropping. Along with Criminal, but that's just because I think it will read and collect better as trades.

I'll also be picking and choosing my Countdown tie-ins a bit more carefully moving forward.

Busiek on Superman: Worth Reading

On a different note: If you aren't reading Kurt Busiek's "Superman", you should be. I haven't focused on the title nearly enough either here or when I was reviewing at Comic Fodder. I re-read the most recent issue yesterday during my vacation day, and happened to read a jumbled review of the comic at the Superman Homepage.

Anyhow, one thing led to another and I e-mailed writer Busiek directly to confirm that he's got a fan out there who is really digging his work on Superman. Gracious guy that he is, Mr. Busiek wrote back.

Pretty shortly the whole "Camelot Falls" storyline will be collected in two volumes. When it is, I highly recommend you pick them up. Also, pick up "Back in Action", which was a storyline over in "Action Comics". Of course, you should also read "Up, Up and Away" which was a great Superman v. Lex storyline. For something just terrific, I recommend Superman: Secret Identity, which is just a great stand alone story.

Other Busiek books I'd suggest:
Arrowsmith: So Smart in their Fine Uniforms
Astro City
JLA/ Avengers

Of course, Kurt has been in the game for a few years, and this is just stuff published at DC. If you guys do a quick Google search, there's a lot more out there.

Comic Fodder Needs Writers

Hey, Leaguers!

Comic Fodder needs writers!

Do you read an unhealthy number of comics?

The Fodder Network is looking for writers to help us build Comic Fodder into a must-read site for every comic geek with an internet connection. Are you a reader of comics who can put a critical eye to the comics they love, and who isn’t afraid to get a little scrappy defending their opinions down in the comments section?

Read the whole article here.

Comic Fodder Catch Up

Hey, Leaguers...

Finally got out Part 2 of Masters in DC Universe

and reviews of last week's DC Comics

Comic Posts

I know you care, so I thought I'd share...
There's some comic reviews up which are beyond compare.

Thanks to Jim D.'s suggestion I went ahead and posted on the Action Comics Annual released yesterday.

Also, see Part 1 of my amazing, rambling series: A Masters in DC Universe, a Minor in Wildstorm

Read Checkmate

Up on Comic Fodder


Coming to Trade Paper Back soon.

DC Reviews for 1.17.2007 are up

Hey all, I've done my Comic Fodder duty and reviews are up for DC Comics released last week.

Please come on by and check it out. Click on some ads, and then take a look at some of my other DC commentary.

And, also, I'd love some comments. It's always nice to get a discussion going.

I could certainly use the support, and, if nothing else, it keeps me from posting lots of comic stuff you're not going to read at LoM.

That is all.

2 dogs + 3/4 dog = chaos

Oh, Cassidy.

We adore Cassidy. Jason's dog is little and cute and her tail is a perfect 2/3rds of a circle. She clearly leads a happy life at Jason's house as she appears continually gleeful. Really, gleeful, confused and asleep are her three working states.

I stayed up until almost 4:00. This was post-visitation with some folks, when I found myself watching a show about the Spartans of ancient Greece. It was like a well produced short history class, or maybe a sub-section of what you'd get in Greek History in undergrad. Odd timing as I had been discussing my lack of knowledge of Greek history just a few hours prior.

Last night we sort of celebrated the birthday of League-pal Juan Diaz (he is 3?). Juan, Matt Mangum, Nicole, Lauren and Steven were all in attendance. A lovely evening, and we wrapped up mercifully early. I do not think anyone saw Jamie drifting off on her end of the couch.

I was still all pumped up when folks left and so did some internet'ing (Jim D should check his e-mail box, and you can see my recently posted DC Comic reviews for week January 10th at Comic Fodder). And then the Spartans thing on PBS.

So now I have been awake again since 7:45 thanks to the howling call of Cassidy, who is not on my schedule and had to eat and pee.

The feeding schedule is odd with three dogs as one is constantly trying to keep my two dogs out of Cassidy's food, as Cassidy is prone to share and is also a slow eater. And, since Cassidy's arrival, my dogs will not actually do their morning duties until after they've eaten. So you can kick them outside first thing, but they will only stand by the back door, staring at you.

Add in the rain and cold we've got, and it's been doggy chaos about three or four times a day as dogs go in and out in short bursts.

But the dogs seem to like this "pack" thing of having three dogs. It's just not much of a pack with 2 and 3/4's dogs.

ComicFodder: First Post

Can you tell I'm nervous?

here's a link to my first post for ComicFodder

Ah, nothing like a dry, whiny tirade to get the audience rolling in.

ComicsFodder

A while back, Doug's friend Shannon alerted The Doug to the fact that the media review site she works with was looking for a comics blogger. (Did that sentence make any sense? I challenge you to diagram it.)

Anyway, I took a look at the site, saw their tone and format for media review, and was very interested. But I was also moving. I contacted the site manager to see what the expectations might be, and, frankly knew I couldn't swing it. Not with a move on.

So a few weeks ago I was talking to S. Bloom, who is (was? There's an "R" next to his name on their staff list) a contributor at Footballguys.com (oh, man, I need to add that link), and he was talking about really enjoying his work as a sports blogger. So, I thought to myself, "Gee, The League, you blog several times a week. Could you swing that sort of gig? You know, if a comics sort of context?"

And then I did my year-end comics round-up, back-to-back with the Vaughan and Cooke post from a little ways back, got a little encouragment... and, anyway, I started thinking about the FilmFodder site all over again.

So, just prior to Christmas I took a look to see what FilmFodder had been up to in the comics arena. Their coverage was interesting, but had fallen off since Novemeber. I got in touch with the site manager, did a "remember me?" e-mail, and was redirected to the gentleman who is, essentially, the editor for ComicsFodder.

Long-story-long, The League should be joining the ranks of FilmFodder, down in the ComicsFodder subsection.

I am now responsible for Comics content on FilmFodder a few times a week.

What will this mean for LoM?

Probably not a lot. The comic posts that you would see here will probably now just exist as redirects to ComicsFodder. I probably will not rant over on ComicsFodder regarding Superman as I have editorial responsibilities.

I think the deal I've made is more or less to be the DCU blogger. A post or two or three a week, featuring comic reviews. Columns of commentary. That sort of thing. Stuff you see here and ignore on a regular basis.

I'll still be posting a lot of that top-notch, high-quality navel gazing that you're used to. At least the sort of stuff that tends to draw comments.

I will alert all Loyal Leaguers when I have my inaugral post. In the meantime, I have some ducks to get in rows with the editor and site-manager.

Wish me luck.

Suggestions for Further Reading: Fun Home

I am an illiterate idiot. At least, my days in college were not spent in the way college was once experienced, at least in my fanciful mind. Sure, I knew some other RTF and History majors who would stray into reading of the classics during their downtime, but when they were reading Proust or Joyce, I was flipping through X-Men, doodling in the margins of my notes, setting fire to the apartment I shared with CBG, reading non-fiction, the newspaper or magazines, and, of course, going to work. But all of those are excuses. I have the leisure time. At some point, I need to just cop to being willfully illiterate. Of course, I'm also fairly ADHD in my reading, so it's questionable that, even if I did purchase a copy of "Ulysses", I would make it past the first fifty pages.



Alison Bechdel makes me feel like an idiot or, conversely, that I've wasted my life reading the wrong things. Her graphic novel "Fun Home: A Family Tragicomic" is currently riding the end of the year "best in non-fiction" category in a few publications. This is remarkable mainly due to the fact that "Fun Home" is a graphic novel, it is autobiographical, it is personal, and it is everything many, many comics attempt to be, but utterly fail. Of course, Bechdel is very good at what she does.

I picked up "Fun Home" mostly due to a reading suggestion by an old college chum who I had once bonded with over Morrison's "Invisibles" and Jell-O shots. Amy usually had a few good ideas up her sleeve, and I figured she was wise enough not to just go off recommending books willy-nilly, not at the rate she reads. Also, I'd heard Time called it one of their books of the year. (Time does have a Comix reviewer, but I sort of quit taking him seriously a few years ago. I found his reviews too often slanted the subjective as if it were the objective, which I found a bit indefensible as much of the Time audience most likely knows very little about the medium.)

The book itself is currently available in hardback from Houghton-Mifflin (an interesting publisher for any graphic work, I thought). As per content, the story centers around the distant relationship of Bechdel and her father as Bechdel explores the awakening of her own sexual identity, the problematic issues of her father's sexuality and his untimely death.

Self-examination and auto-biography have been a staple of indie comics since Harvey Pekar drew his first stick man in a square, and with Craig Thompson's recent Eggers-like surge in popularity thanks to the Emo-Boy/coming-of-age tale "Blankets", publishers outside of small press seem to be taking notice.

Gay/Lesbian-coming-out tales are not unheard of in comic-dom, but where Bechdel separates herself from the little I've read is in her approach as she attacks the topic with more than the raw emotion of the topic. Instead, the book reads as a thesis in exploring her own story as a thematic reflection of the beloved literature which permeated her life as a child and young adult and the brief life of her father (and for which she obviously continues to hold a student's, if not a scholar's, interest). The depths of Bechdel's attempts at understanding are there on the printed page, and the sheer work which went into constructing the narrative as scholarship mode of telling the story speaks volumes.

Were Bechdel a lesser writer, the references would seem meaningless to those of us in the comic-consuming intellectual under-class. However, she chooses to illustrate (more often with words than her careful cartooning) the parallels she's selected and feels compelled to explore.

I am only familiar with Bechdel's prior work from the hilariously pointed title of her long-running strip "Dykes to Watch Out For" (a strip I'll be seeking out in collections or otherwise). In short, I'd never seen her stuff.

Bechdel's cartooning emulates the illustrations of early-readers I recall from around 1st or second grade, which utilizes clean, clear art and icongraphic symbols/features to differentiate characters rather than a realistic rendering style. At times her words overwhelm the seemingly simplistic drawings, but the juxtaposition between a child's recollection and an adult's 20/20 reflection plays well together.

Time's "Comix" reviewer is concerned with Bechdel's tendency to lean on words, hinting that he feels there's a useless repetition or disconnect between words and panels. I never felt that during the read, and even going over the examples he's cited, don't feel that he's made a particularly compelling case that Bechdel chose words over actions, given the reflective and meditative tone of the book.

Again, the comic makes me wish I'd spent less time signing up for Archery classes in college and more time in English courses. I am sure there were many items which passed me by in my first reading, but this graphic novel was a fantastic read, nonetheless.

COMICS in 2006
a DC Comics heavy retrospective of the year in tights

Overall, this has been a good, if not watershed, year for fans of superhero comic books. Both DC and Marvel seem to be on the same page that they are now writing for an adult/ young adult audience. Big events occured which appear to have actually had an impact in the universes of the Big 2. Creators seem to be the driving force in a way which bodes well for the next generation of the industry. And superheroics seem to have crossed from the comic page into the American zeitgeist in a way we haven't seen in a long time.



MARVEL

I'd given up on Marvel in early 2006. As some may know, I don't pick up too many Marvel titles except in collected editions. I wasn't even able to pick up much in the way of Spider-Man early in the year as the Spidey Cross-over event "The Other" hasn't been collected in softcover. The "House of M" storyline, which was then wrapping up, didn't appeal to me, and I still can't get myself used to the idea that Cap's sidekick has been chilling in Russia for sixty years. I don't care who is writing it.

New Avengers has, honestly, left me cold since issue #1. I don't get it. I love Bendis, and I love the art. There was just something about the "All-Star Avengers" which didn't click. Especially since they had to include their Superman/Supreme/Mr. Majestic/Hyperion/Prime-sixth generation super-dude knock-off in the mix.

So, aside from BOTH Bendis and Brubaker's runs on "Daredevil", I didn't feel like I was getting much out of DC's Marvel-ous competition.

Luckily I picked up an issue of Civil War, and some additional issues of Amazing Spider-Man, Fantastic Four and Black Panther. Whether I think the series has hit on all cylinders or not from a logical point of view, or whether I thought characters acted in character, the series is good, comicky reading. Tough questions (for the Marvel U) are asked, harsh lessons are learned and not everyone in a white hat ends up smelling like roses.

I understand Marvel readers are infuriated at late production from Marvel, and delayed shipping. Given the rate of delivery by Marvel during the Jemas-era, Marvel's books practically seem like they're coming out early.

What I can't envision is Marvel's ability to pull their universe back together in the aftermath. Should be a neat trick.

Looking to 2007, I am far more concerned about the rumored "Onslaught: Reborn!" series, when the original idea was so hokey, not to mention the "Heroes: Reborn!" fiasco to which it was tied, but which pre-saged the Ultimate line. Marvel also needs to learn to NOT have three "events" in a year. "Annihilation" and "Beyond" were completely forgotten amongst the "Civil War" hype.


Some Other stuff

Dark Horse rereleased all of the "Concrete" work to date in 7 volumes. It's no wonder I passed by the book at age 13 when I remember seeng it on the shelf, but it's also no wonder that as an adult, it's some darn-good reading.

Gemstone seems to be suffering some financial hardship with the cancellation of a good chunk of the Disney line of comics. Fortunately, Uncle Scrooge appears to have survived the first axe to fall. In 2006 I delved a little further into Uncle Scrooge and picked up both "The Life and Times of Scrooge McDuck" and "The Life and Times of Scrooge McDuck Companion". Some darn fine comics by Don Rosa, modestly priced, and truly all-ages fun, not just kid stuff. Highly recommended. the ongoing "Uncle Scrooge" collections are fairly fun, too, but at their best when Rosa or Bark's work is reprinted.

Image Comic's loveletter to Jack Kirby "GodLand" continues to surprise.

"The Mouse Guard" was fun to look at, if a little light on plot. Wish I could find the most recent issues. or figure out how to store them. Maybe it's a good item to wait for the trade.

And, technically, it's DC's Vertigo... but I'm glad to see Harvey Pekar with access to better distribution. I didn't start picking up his stuff until this year, and it's, as Harv would say "real interesting."


DC COMICS

It's one year later in the world of comics, and, in fact, One Year Later at DC Comics.

Superman had a huge year this year, enjoying success in movies, DVD, video games and even in the pages of DC Comics. "Superman Returns" didn't meet industry expectations (which were insanely high), but made over $200 million at the domestic box-office, and came in as the top seller and renter in its home video release. Superman merchandise, both cheap and crummy, as well as high end and pricy not only hit the shelves, but seems to be selling at a fairly brisk pace.

In the comics, Superman dropped from 3 monthly-ongoing titles to 2, but picked up "All-Star Superman" and "Superman: Classified", as well as continuing with reprints of Silver-Age goodness through the Showcase Presents line. From a creative stand-point, Infinite Crisis provided Superman with a nice high point, resolved some fan complaints, all while the One Year Later event introduced a whole new bundle of questions and complaints from the Super-Fan community.

I've not been shy about saying that I enjoyed the heck out of "Up, Up and Away" by Kurt Busiek and Johns, "Superman: This is Your Life" across all three Superman monthlies during IC, and the post IC work within both Busiek's "Superman" and Johns/Donner's "Action". Cooke and Sale's "Superman: Classified" has been off to a good start, although I, personally, am not surprised. Of this period, however, I believe "All Star Superman" by Morrison and Quitely will be the most enduring of the Super works.

Overall, a revitalizing year for DC's original franchise.

Unfortunately, the return of Kara Zor-El to the DCU has been an unmitigated disaster. Fans' calls to DC to return Supergirl ("the one, true" Supergirl, as many maintained as various substitutes were introduced) to the Super-titles resulted in a convoluted mess which, 12 issues into her series, has shown only the faintest signs of quality or coherence. As of a week and a half-ago, I officially gave up on the series, voting with my dollars and declining to purchase the latest issue. Simply, the character is unsympathetic and messy, and is being upstaged by other creator's portrayal of her in everything from "Supergirl and the Legion of Superheroes" to single-panels of her in IC, etc...

To the chagrin of black t-shirt wearing sixteen year old comic fans, Batman came out of IC as a character who, for the time in 15 years, isn't making his trademark simply by acting like a paranoid/psychotic loner. The post Dark Knight Returns misinterpretation of Batman's mentality was wiped away with a new editorial line-up and creative force. Curiously, "Robin" is actually very readable at the moment, Dini is tearing things up in a good way in "Detective", and Grant Morrison's "Batman" (although on an Ostrander/ Mandrake hiatus) is taking turns I didn't expect, but which I'm enjoying. The first issue of "Batman: Classified" was okay, but didn't blow me away.

I confess to not thinking too much of Bruce Jones' run on the final issues of "Legends of the Dark Knight". His Batman was fine, but the story felt like a vintage single-issue Batman mystery spread out over far too many pages. A waste of Olivetti's considerable talent.

I think that, in the long run, the decision to bring back Jason Todd will haunt DC far more than Jason Todd is haunting Batman. There are a dozen different ways they could have had a similar character to Todd running around, and I just can't get behind this decision or excited about "The Red Hood".

I have given up on Nightwing.

"Justice League of America" is the sort of team-book DC has traditionally struggled to produce. As most members of the team are from the offices of other editors (even Aquaman), the JLA has usually been all plot, no character. So it takes a special kind of writer to simply use the characters as they are, and not feel the need to radically alter or damage a character in order to explore that character. Does that make sense?

The first issue of "Justice Society of America" was very promising. I enjoyed about 65% of the final issues of the predeceding title, "JSA". I think this reinvigorated take is exactly what's needed for the team, if not the title, to receive the attention it deserves. Further, I'm enjoying the two-to-three issue character focused runs on "JSA: Classified".

"Teen Titans", meanwhile, feels as if it is headed somewhere good, but just hasn't touched down quite yet, post OYL. I don't think you can argue the quality of the art, and DC's new insistence on character as well as plot is being felt in this book as well. Glad there was no new #1.

The three big stories, of course, were "Infinite Crisis", "One Year Later" and "52".

"Infinite Crisis" was absolutely fascinating from a DC reader's perspective as the creative team essentially took ownership of the sins of the actual editorial choices DC has made not just in the past 20 years, but going back longer than some of the creators have been alive. The art, even by multiple artists, was top notch, and the story, itself, very good for a "big summer even