Yeah, yeah, I know. I've been incredibly neglectful and, personally, I'm disappointed in myself because I wanted to make posting here a priority. Unfortunately, by the time I get home and settled for the night, I don't want to think and write anymore, but would rather just play on my Xbox. When I get a chance, to get to the HD TV. I'll try to do better.
However, the release of Justice League: The New Frontier was enough to release me from my malaise and post again.
Wow.
That's all I have to say. Wow. Just freaking wonderful from the voice work to the character design (although there were times when some characters had more of a Bruce Timm look than Darwyn Cooke) make this a terrific movie.
However, being a comic book fan, I have to find some fault or my membership will be revoked and I don't want that because the dues are nonrefundable.
1. It is too damn short. I know the 75-minute length is dictated by marketing, but if any work could have used another half hour, it was New Frontier. I give the writer credit because he was able to show through suggestion most of Cooke's original story, but it would have been nice had Steel's story been shown as a counterpoint to the more optimistic story. Additionally, since the viewer has seen Ace Morgan from the beginning of the movie, it wouldn't have hurt the story to show the formation of the Challengers.
(However, and not a problem, is the use of characters like the Blackhawks and Adam Strange without the need to introduce them. Doing that, I think, gives the audience credit that they understand that there are more heroes in the DC Universe than just those the story is focusing on.)
2. Even at 75 minutes, the last few minutes of the movie looks as if the producers ran out of money for real animation and resorted to the Marvel Super Heroes method of cutting pictures out of the orignal comic and then suggesting movement by moving the camera around. What the hell?
(However, the opening credits are done in front of title cards that present stylized versions of Cooke's already stylized art. There, the limited animation worked great, but then I love the use of title cards and promise that when I make my first movie, I'll use title cards. And I'll introduce my cast at the end of the movie in the same manner Orson Welles introduced his at the end of Citizen Kane and The Magnificent Ambersons.
3. The ending still gives me chills, but then I am a sucker for the hope that the early and middle Silver Age books presented. However, the ending of the movie, besides being animated with stationary pictures, kind of failed to present the sense of awe, the feeling of "Just Imagine" when the JLA officially has its first mission battling Starro. In fact, after that image, a new one is shown which tells the viewer those heroes beating up on the giant starfish, that's the Justice League. It would have been nice had Lois Lane's narration leading to the final panel also been used. An iconic moment and image, the JLA gathering for the first time should not need an explantion tacked on at the end.
Three little things that really don't detract from the excitement of the story or the beauty of the images. To paraphrase from Holiday Inn, "Don't ask why, just watch it, and God bless America."
Showing posts with label JLA. Show all posts
Showing posts with label JLA. Show all posts
Friday, February 29, 2008
Monday, October 29, 2007
The answer is: 37
The question: How many comic books did I read this weekend?
You'd think that that many comics would run together after awaile, but they don't, at leasat no more than normal. I do think, though, that the sheer bulk of comic books I read monthly coupled with my moderate, at best, writing speed pretty much is going to keep me from commenting as much as I want in the way that I want. I thought that the method I'd been using would help me along, but I still found myself finding something to say about everything I read, and at those kind of numbers, it adds up.
As for what I read this weekend:
I don't know how it happened; I think when it happened was during his writing of 52; but Geoff Johns's writing has become as good as his fans have always said it was. His writing doesn't feel padded anymore, I feel like I am actually getting something of a story in any one issue of a comic he writes as opposed to an event in a larger whole. Actually, I am getting less of a writing-for-the-trade vibe from mainstream DCU comics lately. Maybe a company-wide mandate was enacted at DC, reminding the writers and editors that the trades are subsidized by the people who buy monthly titles. I hope so. Now, if only DC (or Marvel) would bring back thought balloons and get rid of narration captions, and number the pages of its comic books, then I'd know that they were putting the fan of monthlies, or at least me, first.
I love the conceit of Booster Gold, but I have to wonder if it can be sustained for many years. I want this comic to last many years, if for no other reason then that I like time travel and alternate dimension stories. I've long thought the The Powers That Be at DC really shot the creative side of the comapany in the foot when it enjoined the use of time travel and alternate dimensions in mainstream stories. Despite the pathetic whining of middle-thirties-aged fanpeople, the DCU (and Marvel Universe), is as connected to reality as Middle Earth is connected to reality. Strip the DCU down to its earliest moments, and its core grows from science fiction, or at least science fantasy, the landing of a rocket on the Earth that contains a baby from another planet. (Yes, I know, Crimson Avenger, et al., have a basis in pulp fiction/crime fiction, but I'm considering the event that put DC on the map). To prevent the use of time travel and/or alternate dimensions as plot devices, both of which are traditional starting points for many a work of science fiction, hamstrings writers, chaining their imaginations and chaining the characters they write to mundane stories. Anyway, even if Booster becomes the deus ex machina for DCU retroactive continuity, after the Blue Beetle story appears, any other stories could feel anticlimatic and I'd hate for apathy to kill this book.
Dwayne McDuffie didn't disappoint with his two Justice League premieres (JLA Wedding Special and Justice League of America #13). His writing is so much better than Brad Meltzer's, at least in regard to comic books, that I really think both companies need to start reevaluating the worth of name writers from other media. The art, however, is as bad as ever, even with a new artist on the book. Why did scratchiness coupled with bad anatomy ever become a viable art style and what can I do to stop its spread?
Black Canary Wedding Planner was cute, but no where near as funny as Jann Jones had me thinking it was going to be based on her comments at Wizard World Chicago.
Let me get this straight: Giving Green Arrow a beard more suitable for an extra on My Name is Earl somehow makes him more attractive.
Ultimate Fantastic Four is becoming boring, possibly an artifact of the stories continually being written with the trade in mind. It might be cut soon.
I don't know why, but this iteration of Madman just isn't doing it for me; even Mike Allred's artistic tour de force last issue, beyond the fact of how well he aped the works of his artistic influences, wasn't enough to make me glad I can buy new issues of Madman again.
You'd think that that many comics would run together after awaile, but they don't, at leasat no more than normal. I do think, though, that the sheer bulk of comic books I read monthly coupled with my moderate, at best, writing speed pretty much is going to keep me from commenting as much as I want in the way that I want. I thought that the method I'd been using would help me along, but I still found myself finding something to say about everything I read, and at those kind of numbers, it adds up.
As for what I read this weekend:
I don't know how it happened; I think when it happened was during his writing of 52; but Geoff Johns's writing has become as good as his fans have always said it was. His writing doesn't feel padded anymore, I feel like I am actually getting something of a story in any one issue of a comic he writes as opposed to an event in a larger whole. Actually, I am getting less of a writing-for-the-trade vibe from mainstream DCU comics lately. Maybe a company-wide mandate was enacted at DC, reminding the writers and editors that the trades are subsidized by the people who buy monthly titles. I hope so. Now, if only DC (or Marvel) would bring back thought balloons and get rid of narration captions, and number the pages of its comic books, then I'd know that they were putting the fan of monthlies, or at least me, first.
I love the conceit of Booster Gold, but I have to wonder if it can be sustained for many years. I want this comic to last many years, if for no other reason then that I like time travel and alternate dimension stories. I've long thought the The Powers That Be at DC really shot the creative side of the comapany in the foot when it enjoined the use of time travel and alternate dimensions in mainstream stories. Despite the pathetic whining of middle-thirties-aged fanpeople, the DCU (and Marvel Universe), is as connected to reality as Middle Earth is connected to reality. Strip the DCU down to its earliest moments, and its core grows from science fiction, or at least science fantasy, the landing of a rocket on the Earth that contains a baby from another planet. (Yes, I know, Crimson Avenger, et al., have a basis in pulp fiction/crime fiction, but I'm considering the event that put DC on the map). To prevent the use of time travel and/or alternate dimensions as plot devices, both of which are traditional starting points for many a work of science fiction, hamstrings writers, chaining their imaginations and chaining the characters they write to mundane stories. Anyway, even if Booster becomes the deus ex machina for DCU retroactive continuity, after the Blue Beetle story appears, any other stories could feel anticlimatic and I'd hate for apathy to kill this book.
Dwayne McDuffie didn't disappoint with his two Justice League premieres (JLA Wedding Special and Justice League of America #13). His writing is so much better than Brad Meltzer's, at least in regard to comic books, that I really think both companies need to start reevaluating the worth of name writers from other media. The art, however, is as bad as ever, even with a new artist on the book. Why did scratchiness coupled with bad anatomy ever become a viable art style and what can I do to stop its spread?
Black Canary Wedding Planner was cute, but no where near as funny as Jann Jones had me thinking it was going to be based on her comments at Wizard World Chicago.
Let me get this straight: Giving Green Arrow a beard more suitable for an extra on My Name is Earl somehow makes him more attractive.
Ultimate Fantastic Four is becoming boring, possibly an artifact of the stories continually being written with the trade in mind. It might be cut soon.
I don't know why, but this iteration of Madman just isn't doing it for me; even Mike Allred's artistic tour de force last issue, beyond the fact of how well he aped the works of his artistic influences, wasn't enough to make me glad I can buy new issues of Madman again.
Saturday, September 22, 2007
OML Comments for August, Part 4
In the home stretch. I might actually finish everything before the next order arrives.
Category C (cont.)
Annihilation: Conquest Starlord #2
This is the only Annihilation: Conquest title I'm reading out of the four Marvel is publishing and I only bought this because of Star-Lord. Not that the Star-Lord here even resembles the version I remember from 1977, but I don't care because there is more to this comic than just one character. As you may have heard, the basic plot is "the Dirty Dozen in space," though with with just seven characters. And what characters. Who but Keith Giffen could put Star-Lord, Mantis, Captain Universe, Deathcry, Bug, Rocket Raccoon, and Groot in the same comic, and have the ability to make Rocket Raccoon and Groot friends. I honestly can't tell you anything about the mission; though I think the mission may have something to do with what is happening in the other Annihilation comics, for me the mission doesn't matter. It is is a macguffin to me. What I am enjoying is Giffen's ability to take a band of B- and C-grade, Marvel space characters and make them more interesting through their interactions with each other. I did think that Deathcry needs/needed to think about learning to let things go, but otherwise I like these characters together. I don't know how this concept would play as an ongoing, especially if Giffen isn't writing it, but for the limited issues of a mini-series, it is working well. I really like the art on this title, too. I wouldn't necessarily want Timothy Green II and Victor Olazaba drawing a "lighter" title, She-Hulk, for instance, but the art and Nathan Fairbairn's coloring help to create a claustrophobic feeling. The uniforms designed for the characters, though I don't know if Giffen or Green designed them, are interesting, too. They remind me of uniforms worn into battle by the British in World War I. Starlord's helmet really reminds me of something from the Edwardian era, and that overfall mis-matched feeling between high technology and trench warfare really helps sell the possibility that none of the characters are going to live. In fact, two died in this issue, and one was an unexpectedly heroic death from a character Giffen hadn't been taking seriously.
Astonishing X-Men #22
This is one of two X-titles I read and when Joss Whedon leaves in two issues, I probably will, too. It has been so many decades since I did read a current-day X-title that most of the background of the story Whedon is telling is lost on me, but I don't care and I find that not knowing doesn't make the story any less compelling. I know some of you may find that difficult to believe, but it is the truth. You don't have to know every little detail from prior stories to help you enjoy a current story. Anyway, semi-interesting story, though I don't really think Whedon could ever top his first story arc that he wrote for this title. A possibly X-title changing ending, one I thought I would have heard more about, but I guess that may speak to just how jaded comic fans are these days. John Cassaday's art is beautiful as ever, though it is a shame that he can't produce work at a faster rate. By the way, am I the only one who sees a hint of Willow in Cassaday's drawing of Kitty?
Action Comics #855
For all the excitement over this comic that I've been reading, I have to say that it isn't as good as Busiek's work on Superman, but I've found Geoff Johns's and Richard Donner's writing on Action to be unimpressive so far, so why should this new story be any different? I will give Donner credit for opening himself to new ideas regarding Superman. It must have been uncharted waters not to have the Phantom Zone villains or Kryptonian crystals (again) in a Superman story. I enjoyed the re-population of Bizzaro-Earth, in a much creepier manner than Mort Weisinger ever would have allowed. I normally love anything Eric Powell does, but I didn't think his work on the art here was anything special. Bizzaro looked a lot like the Goon and I didn't see much of Joe Shuster's influence on Powell's Superman, but I'll take the blame for that. When I first read people comparing Powell's Superman to Shuster's, I was imagining that the drawing would be more akin to the Superman Wally Wood drew in the mid-seventies All Star Comics revival and I was a little disappointed that Powell's wasn't closer to the original in my eye. Still, not a bad comic book, I just didn't get as much enjoyment out of it as I do with Busiek's Superman.
Fantastic Four #548
I know Michael Turner has been treated for cancer, and from what I read he's doing better, so how much longer are people going to put up with his art? I am not a Turner fan, I never have been, and I know that Mr. Fantastic is a character that doesn't necessarily conform to the rules of anatomy and perspective, but look at his arms on this cover. What the hell is that? And don't get me started on the unnecessarily over-rendered drawing in general. Way too busy, weirdly drawn, strangely constructed, yet people love his art. I don't get it. What did I think about the comic book itself? I'll tell you right after I've read #549, which should show up in the next post.
Jack of Fables #13
There is actually subtext in this comic. Intended subtext, I think, as opposed to the subtext some people want to find in creative works. On the surface, we follow along with Jack of storybook fame. Name a Jack and it is he. Jack is Little Jack Horner, Jack be-Nimble, Jack the Giant Killer, and other of which you can think. In this comic, Jack has left Fabletown and adventuring on his own. Well, I guess he's more looking for an easy mark or three than truly adventuring, but still, he's on the road and it is the journey that matters. Underneath the story, though, I think Bill Willingham is making an examination of the mutability of mythology and culturally shared stories, which is something comic book fans should think about when they start complaining that a favorite character has changed. With Jack, after his time in Hollywood and a series of movies that he starred in, he is quite well known. For the people from the Fable lands, the more well known you are, the more concrete you are. Jack is now so popular that the cultural group mind is finding him in other stories whether he was originally present or not. For instance, a belief has sprung up that Jack is part of the King Arthur legend. Since there is no real place for him in the stories, he has replaced the Stone into which Excalibur was thrust. Lucky for him, too, since Excalibur has been thrust through his sternum. Now, all he needs is the true king to step forward and remove the sword, but he and his companions are in the middle of nowhere. Look, just read the comic. You'll like it.
Green Lantern #22
Simply put, this is a great story and has been since the Sinestro Corps Special. Ever since David Goyer stopped co-writing JSA with Geoff Johns, I've always felt his writing lacks something, I've never enjoyed his writing as much as I do when he is part of a team. However, Green Lantern is one comic book Johns appears to be able to write solo without going off into strange little places (and after one issue, at least, Booster Gold could be another). This is a story at once simple in presentation and complex in what story is told. It reminds of where mainstream comics were heading before the double whammy of Watchmen and Dark Knight produced the belief in less-talented creators that adult situations layered over a nihlistic presentation of the world (1) could reproduce the success of those earlier works; and (2) acurately represented the world. The story Johns is writing has character development and action scenes, neither more important than the other
Once upon a time, before comic fans started driving the industry and Superman, comic book stories could occur in their own little bubble, even as the characters were part of a greater shared universe. I know it crushes the soul of some fans, but Flash, for instance, could take on an alien invasion near Central City and there was no indication that he even considered calling the Justice League for help. Right now, until the inevitable merging of the aftermath of the Sinestro War with the coming Great Disaster/Final Crisis, it is just nice to read a huge story taking place in its own little bubble, without having to read the complaints of people over being "forced" to buy titles they don't want to to follow the story. You know what, I'm not buying Green Lantern Corps, I'm only following the story in Green Lantern, and I sure don't feel like I'm missing anything. We can talk about how the so-called "event fatigue" is really "obsessiveness fatigue" later.
Justice League of America #12
I guess there are people who like his work, but Brad Meltzer, in my opinion, is really over rated as a comic book writer. God bless him for having an affection for the JLA, but, you know, having an affection for something doesn't mean you should do anything more than admire that thing from afar. I think it says something that the most interesting story Meltzer wrote was in Justice League of America #0, and in retrospect, it was the single panel images of JLA stories that will/may occur in the future that really made the story. It did have an incredible use of foreshadowing though, as Meltzer leaves subtle hints that he enjoys thought captions,
What really happened in the remaing twelve issues of Meltzer's Justice League of America? Well, may I suggest nothing? Issues #1-7 were a composite story, part recreation of the JLA post-Infinite Crisis, part recreation of Red Tornado post-52. There were some interesting ideas; well, the idea of the multiple Tornados of various colors was at least visually appealing, but the intelligent Solomon Grundy just reminded me of the intelligent Grey Hulk and, for some reason, Vandal Savage. Then, after way too many issues of the Big 3 making their choices for the team, and where Meltzer used way too many thought captions as if he was writing a novel using a simultaneous narrative technique, it is all negated when other heroes go to them, offering the Big 3 membership.
The next three issues was the crossover story with Justice Society of America, "The Lightning Saga." These issues at least felt like Meltzer was telling a story about the JLA, though I think that that is more of an artifact of Meltzer being dragged into actually telling a story in comic book form because he was forced to continue the story from Geoff Johns lead in JSA every month. The story presented in #11 could have involved almost any two random heroes, there was nothing about it that inherently made it a Justice League story save that Red Arrow and Vixen, JLA members, were present. Actually, there's the next fifth-week event for DC. Throw ten character names in a hat, have five different writers each pull out two, and have each write his/her version of this story. Really, to me, this felt more like a fill-in Marvel story written when Jim Shooter was editor-in-chief there than anything else. At least it served dual purposes of getting the issue out, ticking off one story from Meltzer's contractual obligation, and of not having to reprint an old story.
Then there is this issue. Didn't I read this story, like, back in issues #1-5 or so? Why in the world did Meltzer think we needed to see, or wanted to see, small groups of heroes, talking about other groups of heroes? When I think of Justice League of America, my first thought should never be "writer's exercise." Brad Meltzer is just one person, but his work here, and, yes, on Green Arrow and Identity Crisis previously, is a key example as to why someone who is a comic book fan, even if he is a published author or a professional in another creative writing endeavor, should not necessarily write mainstream comic books. Only my affection for the Justice League, and naive hope that this run was going to be equal the hype, kept this book as near the bottom of the pile as I placed it. Had this been any other book with the same creative team, it would have placed high in category A. Next month, Dwayne McDuffie starts writing and even if I didn't already know the general quality of his work, I'd be anticipating issue #13 because sight unseen I'd know it was an improvement.
Fantastic Four #549
This is how Fantastic Four should always be written. When I've dropped FF over the years, it has been when the comic has strayed far from the basic idea presented by Lee & Kirby: Four adventurers who happen to have super power going on adventures by choice or necessity. Some people understand that concept: Byrne, Karl Kesel (who really deserves a chance to write the FF full time, and Dwayne McDuffie. (Who doesn't understand it? In my opinion, anyone who talks about the FF being a family, like that is the biggest, most important discovery ever made. Yes, I am looking at you, Mark Waid, but I digress.) McDuffie is doing great things with this comic, the least of which is salvaging Reed Richards after the previous writer and Mark Millar transformed him into a jerk, one that was one step away from using "I was only following orders" as his excuse for his actions during the Civil War, so, of course, he is only a placeholder in Marvel's eyes, keeping the writer's seat warm for Millar when he and Bryan Hitch take over the title next year.
Fables #64
A fill-in issue, I guess, because there was a fill-in artist, but it didn't matter because the story Bill Willingham chose to tell was still wonderful. As the refugees from the various Fable lands answer the call and come to the United States in preparation for the (final?) battle with the Advisary, Snow White's and the Big Bad Wolf's litter of children celebrate their birthday and are let in on a secret. I'd say that 95% of all comic books can be picked up at the beginning of a story and a new reader can figure out the characters and situations rather quickly, if said reader allows himself the chance to learn. In other words, I don't think that you have to go back and read the totality of a series to understand where the series is at the top of a new story. However, with Fables, like Sandman years ago, to not go back and pick up the back issues or trade collections is a disservice to that new reader. Fables is telling a wonderful story, and I think telling it in the same manner Sandman did, too. That is, Fables presents stories that are stand alone, yet are forming a larger story when considered as a whole. Don't let that dissuade you. I think anyone could pick up the first part of any story arc Willingham has written thus far and you could understand the story, so if you aren't picking up Fables, start here.
She-Hulk #20
Dan Slott's penultimate issue as this comic's writer, and mine as a reader. For me, this She-Hulk has only worked as a headliner when Slott is writing the character and until Civil War infected the whole Marvel Universe, it was a pleasant little corner. In this issue, Slott overtly hits the reset button for the next writer and does it with such finality I wonder what his final issue will be about.
Category C (cont.)
Annihilation: Conquest Starlord #2
This is the only Annihilation: Conquest title I'm reading out of the four Marvel is publishing and I only bought this because of Star-Lord. Not that the Star-Lord here even resembles the version I remember from 1977, but I don't care because there is more to this comic than just one character. As you may have heard, the basic plot is "the Dirty Dozen in space," though with with just seven characters. And what characters. Who but Keith Giffen could put Star-Lord, Mantis, Captain Universe, Deathcry, Bug, Rocket Raccoon, and Groot in the same comic, and have the ability to make Rocket Raccoon and Groot friends. I honestly can't tell you anything about the mission; though I think the mission may have something to do with what is happening in the other Annihilation comics, for me the mission doesn't matter. It is is a macguffin to me. What I am enjoying is Giffen's ability to take a band of B- and C-grade, Marvel space characters and make them more interesting through their interactions with each other. I did think that Deathcry needs/needed to think about learning to let things go, but otherwise I like these characters together. I don't know how this concept would play as an ongoing, especially if Giffen isn't writing it, but for the limited issues of a mini-series, it is working well. I really like the art on this title, too. I wouldn't necessarily want Timothy Green II and Victor Olazaba drawing a "lighter" title, She-Hulk, for instance, but the art and Nathan Fairbairn's coloring help to create a claustrophobic feeling. The uniforms designed for the characters, though I don't know if Giffen or Green designed them, are interesting, too. They remind me of uniforms worn into battle by the British in World War I. Starlord's helmet really reminds me of something from the Edwardian era, and that overfall mis-matched feeling between high technology and trench warfare really helps sell the possibility that none of the characters are going to live. In fact, two died in this issue, and one was an unexpectedly heroic death from a character Giffen hadn't been taking seriously.
Astonishing X-Men #22
This is one of two X-titles I read and when Joss Whedon leaves in two issues, I probably will, too. It has been so many decades since I did read a current-day X-title that most of the background of the story Whedon is telling is lost on me, but I don't care and I find that not knowing doesn't make the story any less compelling. I know some of you may find that difficult to believe, but it is the truth. You don't have to know every little detail from prior stories to help you enjoy a current story. Anyway, semi-interesting story, though I don't really think Whedon could ever top his first story arc that he wrote for this title. A possibly X-title changing ending, one I thought I would have heard more about, but I guess that may speak to just how jaded comic fans are these days. John Cassaday's art is beautiful as ever, though it is a shame that he can't produce work at a faster rate. By the way, am I the only one who sees a hint of Willow in Cassaday's drawing of Kitty?
Action Comics #855
For all the excitement over this comic that I've been reading, I have to say that it isn't as good as Busiek's work on Superman, but I've found Geoff Johns's and Richard Donner's writing on Action to be unimpressive so far, so why should this new story be any different? I will give Donner credit for opening himself to new ideas regarding Superman. It must have been uncharted waters not to have the Phantom Zone villains or Kryptonian crystals (again) in a Superman story. I enjoyed the re-population of Bizzaro-Earth, in a much creepier manner than Mort Weisinger ever would have allowed. I normally love anything Eric Powell does, but I didn't think his work on the art here was anything special. Bizzaro looked a lot like the Goon and I didn't see much of Joe Shuster's influence on Powell's Superman, but I'll take the blame for that. When I first read people comparing Powell's Superman to Shuster's, I was imagining that the drawing would be more akin to the Superman Wally Wood drew in the mid-seventies All Star Comics revival and I was a little disappointed that Powell's wasn't closer to the original in my eye. Still, not a bad comic book, I just didn't get as much enjoyment out of it as I do with Busiek's Superman.
Fantastic Four #548
I know Michael Turner has been treated for cancer, and from what I read he's doing better, so how much longer are people going to put up with his art? I am not a Turner fan, I never have been, and I know that Mr. Fantastic is a character that doesn't necessarily conform to the rules of anatomy and perspective, but look at his arms on this cover. What the hell is that? And don't get me started on the unnecessarily over-rendered drawing in general. Way too busy, weirdly drawn, strangely constructed, yet people love his art. I don't get it. What did I think about the comic book itself? I'll tell you right after I've read #549, which should show up in the next post.
Jack of Fables #13
There is actually subtext in this comic. Intended subtext, I think, as opposed to the subtext some people want to find in creative works. On the surface, we follow along with Jack of storybook fame. Name a Jack and it is he. Jack is Little Jack Horner, Jack be-Nimble, Jack the Giant Killer, and other of which you can think. In this comic, Jack has left Fabletown and adventuring on his own. Well, I guess he's more looking for an easy mark or three than truly adventuring, but still, he's on the road and it is the journey that matters. Underneath the story, though, I think Bill Willingham is making an examination of the mutability of mythology and culturally shared stories, which is something comic book fans should think about when they start complaining that a favorite character has changed. With Jack, after his time in Hollywood and a series of movies that he starred in, he is quite well known. For the people from the Fable lands, the more well known you are, the more concrete you are. Jack is now so popular that the cultural group mind is finding him in other stories whether he was originally present or not. For instance, a belief has sprung up that Jack is part of the King Arthur legend. Since there is no real place for him in the stories, he has replaced the Stone into which Excalibur was thrust. Lucky for him, too, since Excalibur has been thrust through his sternum. Now, all he needs is the true king to step forward and remove the sword, but he and his companions are in the middle of nowhere. Look, just read the comic. You'll like it.
Green Lantern #22
Simply put, this is a great story and has been since the Sinestro Corps Special. Ever since David Goyer stopped co-writing JSA with Geoff Johns, I've always felt his writing lacks something, I've never enjoyed his writing as much as I do when he is part of a team. However, Green Lantern is one comic book Johns appears to be able to write solo without going off into strange little places (and after one issue, at least, Booster Gold could be another). This is a story at once simple in presentation and complex in what story is told. It reminds of where mainstream comics were heading before the double whammy of Watchmen and Dark Knight produced the belief in less-talented creators that adult situations layered over a nihlistic presentation of the world (1) could reproduce the success of those earlier works; and (2) acurately represented the world. The story Johns is writing has character development and action scenes, neither more important than the other
Once upon a time, before comic fans started driving the industry and Superman, comic book stories could occur in their own little bubble, even as the characters were part of a greater shared universe. I know it crushes the soul of some fans, but Flash, for instance, could take on an alien invasion near Central City and there was no indication that he even considered calling the Justice League for help. Right now, until the inevitable merging of the aftermath of the Sinestro War with the coming Great Disaster/Final Crisis, it is just nice to read a huge story taking place in its own little bubble, without having to read the complaints of people over being "forced" to buy titles they don't want to to follow the story. You know what, I'm not buying Green Lantern Corps, I'm only following the story in Green Lantern, and I sure don't feel like I'm missing anything. We can talk about how the so-called "event fatigue" is really "obsessiveness fatigue" later.
Justice League of America #12
I guess there are people who like his work, but Brad Meltzer, in my opinion, is really over rated as a comic book writer. God bless him for having an affection for the JLA, but, you know, having an affection for something doesn't mean you should do anything more than admire that thing from afar. I think it says something that the most interesting story Meltzer wrote was in Justice League of America #0, and in retrospect, it was the single panel images of JLA stories that will/may occur in the future that really made the story. It did have an incredible use of foreshadowing though, as Meltzer leaves subtle hints that he enjoys thought captions,
What really happened in the remaing twelve issues of Meltzer's Justice League of America? Well, may I suggest nothing? Issues #1-7 were a composite story, part recreation of the JLA post-Infinite Crisis, part recreation of Red Tornado post-52. There were some interesting ideas; well, the idea of the multiple Tornados of various colors was at least visually appealing, but the intelligent Solomon Grundy just reminded me of the intelligent Grey Hulk and, for some reason, Vandal Savage. Then, after way too many issues of the Big 3 making their choices for the team, and where Meltzer used way too many thought captions as if he was writing a novel using a simultaneous narrative technique, it is all negated when other heroes go to them, offering the Big 3 membership.
The next three issues was the crossover story with Justice Society of America, "The Lightning Saga." These issues at least felt like Meltzer was telling a story about the JLA, though I think that that is more of an artifact of Meltzer being dragged into actually telling a story in comic book form because he was forced to continue the story from Geoff Johns lead in JSA every month. The story presented in #11 could have involved almost any two random heroes, there was nothing about it that inherently made it a Justice League story save that Red Arrow and Vixen, JLA members, were present. Actually, there's the next fifth-week event for DC. Throw ten character names in a hat, have five different writers each pull out two, and have each write his/her version of this story. Really, to me, this felt more like a fill-in Marvel story written when Jim Shooter was editor-in-chief there than anything else. At least it served dual purposes of getting the issue out, ticking off one story from Meltzer's contractual obligation, and of not having to reprint an old story.
Then there is this issue. Didn't I read this story, like, back in issues #1-5 or so? Why in the world did Meltzer think we needed to see, or wanted to see, small groups of heroes, talking about other groups of heroes? When I think of Justice League of America, my first thought should never be "writer's exercise." Brad Meltzer is just one person, but his work here, and, yes, on Green Arrow and Identity Crisis previously, is a key example as to why someone who is a comic book fan, even if he is a published author or a professional in another creative writing endeavor, should not necessarily write mainstream comic books. Only my affection for the Justice League, and naive hope that this run was going to be equal the hype, kept this book as near the bottom of the pile as I placed it. Had this been any other book with the same creative team, it would have placed high in category A. Next month, Dwayne McDuffie starts writing and even if I didn't already know the general quality of his work, I'd be anticipating issue #13 because sight unseen I'd know it was an improvement.
Fantastic Four #549
This is how Fantastic Four should always be written. When I've dropped FF over the years, it has been when the comic has strayed far from the basic idea presented by Lee & Kirby: Four adventurers who happen to have super power going on adventures by choice or necessity. Some people understand that concept: Byrne, Karl Kesel (who really deserves a chance to write the FF full time, and Dwayne McDuffie. (Who doesn't understand it? In my opinion, anyone who talks about the FF being a family, like that is the biggest, most important discovery ever made. Yes, I am looking at you, Mark Waid, but I digress.) McDuffie is doing great things with this comic, the least of which is salvaging Reed Richards after the previous writer and Mark Millar transformed him into a jerk, one that was one step away from using "I was only following orders" as his excuse for his actions during the Civil War, so, of course, he is only a placeholder in Marvel's eyes, keeping the writer's seat warm for Millar when he and Bryan Hitch take over the title next year.
Fables #64
A fill-in issue, I guess, because there was a fill-in artist, but it didn't matter because the story Bill Willingham chose to tell was still wonderful. As the refugees from the various Fable lands answer the call and come to the United States in preparation for the (final?) battle with the Advisary, Snow White's and the Big Bad Wolf's litter of children celebrate their birthday and are let in on a secret. I'd say that 95% of all comic books can be picked up at the beginning of a story and a new reader can figure out the characters and situations rather quickly, if said reader allows himself the chance to learn. In other words, I don't think that you have to go back and read the totality of a series to understand where the series is at the top of a new story. However, with Fables, like Sandman years ago, to not go back and pick up the back issues or trade collections is a disservice to that new reader. Fables is telling a wonderful story, and I think telling it in the same manner Sandman did, too. That is, Fables presents stories that are stand alone, yet are forming a larger story when considered as a whole. Don't let that dissuade you. I think anyone could pick up the first part of any story arc Willingham has written thus far and you could understand the story, so if you aren't picking up Fables, start here.
She-Hulk #20
Dan Slott's penultimate issue as this comic's writer, and mine as a reader. For me, this She-Hulk has only worked as a headliner when Slott is writing the character and until Civil War infected the whole Marvel Universe, it was a pleasant little corner. In this issue, Slott overtly hits the reset button for the next writer and does it with such finality I wonder what his final issue will be about.
Monday, September 10, 2007
OML Comments for August, Part 1
Yes, I'm taking a page from Dr. Norge on the Raging Bullets podcast and breaking these down into parts. I'm thinking that there'll be three parts a month, but we'll see. For explanations of the categories, scroll up or go here.
Category A
Archie & Friends #112
Archie stories. That about sums it up. I started buying this last year when we found out that we were going to have a girl. At the time, the comic had stories featuring Archie, Josie and the Pussycats, and Katy Keene. I thought that line-up skewed toward little girls, so I bought it stockpile in preparation for the day when monthly comics disappear. However, the Josie stories disappeared and Katy hasn't has a story for a couple of months, so I can't think of a reason to keep ordering it. Even my daughter, now eight months old, acts bored when I read it to her.
Nihilist-Man and His Amazing Friends #1
I bought it because I saw E-Man on the cover in Previews. It wasn't a bad comic, just nothing special either. However, I liked it enough that I'd order it if a Nihilist-Man comic was regularly offered.
The Mice Templar #1
I just couldn't get into this and I'm really not sure why. I found the story a little difficult to follow and that difficulty wasn't precipitated by an inherently complex story. I think the problem is the art, primarily the coloring. I just had problems remembering which character was which and by the end of the comic, I didn't really care. I've seen sample uncolored pages of Mice Templar on Newsarama and the art looks much clearer than I remember the art being in the actual book. I'm wondering if the coloring muddled the art, making the characters resemble each other more than the artist intended. On the whole, I don't know if I care enough to continue ordering the title.
JSA Classified #29
I dropped JLA Classified earlier this year because I found the stories pointless; I got more out of any back-up story in a DC comic back in the 80s then I did out of the JLA book and, after some strong stories, JSA Classified is becoming just as dull. The problem, as I see it, is that JSA Classified focuses on individual members of the team, which gives the rotating writers an excuse to be WRITERS, more concerned about showing off their craft rather than delivering a story about which a reader can care. Both of these titles would be well served to have permanent writer/artist teams. The writer here, Arvid Nelson, is no worse than most of the others that preceded him presenting character development and insight with rather pointless action. At least Nelson isn't a faddish writer, substituting narrative captions for thought balloons, so that is something in his and the story's favor. The art, however, is not a style I like, the characters are heavily inked and they do not look natural, but, rather, as snapshots in a panel. Some might like that style, but not me--at least when Greg Land does it, his characters are traced with a clean line.
The Flash #231
Eh. Mark Waid writing Flash never excited me like it does the rest of fandom, but I'll admit that that is my problem. I'll always have an expectation of what I expect in a Flash comic book and focusing on human drama--or having Wally drone on about his and Linda's perfect love together--will never be as exciting to be as watching a Flash use super-speed tricks to get out of a fantastic Rouge deathtrap. There was none of that in this issue, but I'm still not excited about this comic. I ca say that I am not crazy about the kids aging so rapidly due to their exhilarated metabolisms because it just feels like a set-up for an inevitable tragedy, probably just in time for Final Crisis. However, the biggest problem with the book is Daniel Acuna's art. I want to see art, not a demonstration of digital inking. And could could someone please someone could please explain to me why it is now acceptable for artists to let colorists carry the primary art burden, I'd be appreciative. It was good news to learn that he'll be leaving the book soon. I might be able to give the book a better chance with a new artist.
Daredevil #99
I always think I'm going to drop this book, but then the story becomes semi-interesting enough to keep me going. Personally, I'm tired of the "Frank Miller-light" Daredevil that we've had for what feels to me like the last thirty years; there are other ways to write the character and I think it may be time for one of those ways to be explored. Even the art by the usually great Michael Lark is sub-par to me; in fact, I had forgotten he was even drawing the book until I checked the credits. Maybe it is time to partner Lark with a different inker so that his style isn't completely lost.
Wonder Woman #12
I'm just killing time until Gail Simone starts writing the book.
New Avengers #33 Yu & McCaig
The Irredeemable Ant-Man #11
I know I'm supposed to like this, and I do, but just not enough to care that there is one issue left before cancellation. Maybe it is just my inherent dislike of the comic's conceit, that the protagonist is just a self-serving jerk or that if you really thing about it, the situation that set this title up should never have happened because there is no way Eric O'Grady could have passed S.H.I.E.L.D.'s psychological battery.
Dynamo 5 #6
The Clockwork Girl #0
A very enjoyable all-ages comic from Sean O'Reilly, Kevin Hanna, and Grant Bond. I'm adding this one to my monthly order and moving it into Category B for reading.
Mouse Guard Winter 1152 #1
The Last Fantastic Four Story
People have been kicking Stan Lee for this book, but I think the kickers are those with no appreciation of the past. The dialog was not as bombastic as previous current-day, Lee-written comics and if there were clinkers here and there, at least the words and actions rang were true to the characters unlike, say, Reed Richards as written in Civil War.
Category B
Amelia Rules! #18
This book. This book. It is a fantastic book and I look forward to the time when my daughter can read these comics. However, I always tread picking this book up because I know that Jimmy Gownley, Amelia's writer/artist is going to somehow touch me with the story. This issue was no different, telling the story of ten-year-old Amelia's "first date," but it also told the story a child dealing with the news that her father is being deployed to Iraq. (Not Amelia's father, her parents are divorced, but the father of a friend.) Gownley doesn't have an agenda in his story, except that anything that separates families is never a good thing. However, now that I am a father, it touched me even more. I recently turned down a job in Virginia because I would have had to go without my family; I can't imagine what it must be like for people on both sides of the equation for someone to have to leave leaving is part of the job and there is no assurance that person will be coming back. Another great story by Gownley.
Simpsons Comics #133
I never would have equated Chuck Dixon with comedy writing, but he does a good job getting the flavor of the television show in his Simpsons work.
Bart Simpson #37
Ty Templeton does double duty as writer and artist, and also captures the flavor of the show. Templeton deserves more opportunities at the Big 2 on mainstream books.
The Batman Strikes #36
Marvel Adventures Hulk #2
Marvel Adventures Iron Man #1
Legion of Super-Heroes in the 31st Century #5
Marvel Adventures Iron Man #4
Teen Titans Go! #46
Marvel Adventures Fantastic Four #27
The Oz/Wonderland Chronicles #2
Fantastic Five #3
When Tom DeFalco was editor in chief at Marvel I wasn't reading too much Marvel, so I can't speak to how damaging his tenure was to the company, but I like his work with the M2 characters. At least Mary Jane is still alive somewhere (assuming she dies in "One More Day"). Credit should also be to Marvel for giving Ron Lim work as the artist. It would be so easy to give these books to unknown artists at a cheaper rate, especially because art by people with style's like Lim's doesn't seem to be in favor much anymore, so it nice that Lim still has the job.
Fantastic Four Power Pack #2
Man, I have been loving this series of mini-series. I never read Power Pack the first time around, so I can't speak to how close it is to the original series, but I like the characters here. After a return in a solo mini, each new mini has guest starred a different Marvel hero or team. Thankfully, the guest star has never overshadowed Power Pack, not even when the Hulk was the title's visitor. Here, for instance, the book opens up with Jack Power running away with Franklin Richards because neither felt they were being treated properly by their respective families. The FF appears, but it is still a Power Pack story and it is Power Pack that brings the adventure to an end. Marvel has quietly cornered the market on kid-centric comics with this title, Spider-Man Loves Mary Jane, and the Franklin Richards one-shots, but you are missing out if you are over fifteen and not reading any of those comics.
Marvel Adventures Spider-Man #30
Why do I get a feeling that this is the kind of MU Spider-Man Peter David thought he was going to get to write when he went exclusive to Marvel. At least he gets to write that Spider-Man here, and I'm glad he does, because it is pure Spider-Man, unfettered by Marvel inter-title continuity.
Fantastic Five #4
Marvel Adventures #15
Jeff Parker is an unsung writer. He works under the radar, but he does consistently good work in done-in-one stories. Bendis needs to look at Parker's work to see how an Avengers title needs to be written. No talking heads here, just action and, yes, character moments if not true character development, which is all I need because I buy into the illusion of change concept.
Justice League Unlimited #36
Dare I say that this is the best Justice League title being printed. Well, until I read McDuffie's first issue of Justice League of America, and compared to the filler that appears in JLA Classified and the emptiness of Brad Meltzer's work now in Justice League of America, I say JLU is the best. A Question-centric story, it captures the character well, even if his dialog sounded more like it should be said by Rorschach. If you read any of the news out of the Baltimore convention, you may know that Dan Didio said this title is not necessarily canceled. It will run at least until the middle of next year and cancellation isn't necessarily a certainty, even if there are no more new episodes of the show. "If sales support the number of kids books out there, we'll keep them out there" I'd like to thing I did my part in that decision.
Category C
Amazons Attack! #4
Amazons Attack! #5
Nightwing #135
Jon Bosco, I'm sorry to say, is not a substitute for the art of Jamal Igle. Add to that the news that Marv Wolfman is leaving the book and I think I'll be leaving before Marv does.
Amazons Attack! #6
People hated this mini-series from what I've read. It wasn't anything special, but, IMO, the attack of the Amazons felt kind of like an empty threat. The best thing I've read, though, was the writer, Will Pfeifer, passing the buck on the story quality, saying there was a lot of editorial interference. I'm sorry, but a mini-series like this had to have been editorially directed from conception, so "interference" should have been expected.
Big Bang Presents #6 Agents of B.A.D.G.E.
The last issue of this title for the foreseeable future. Maybe its time has come, as the stories feel more bogged in continuity than stories from the companies being homaged.
Supergirl #20
Hellboy Darkness Calls #5
Superman #666
Category A
Archie & Friends #112
Archie stories. That about sums it up. I started buying this last year when we found out that we were going to have a girl. At the time, the comic had stories featuring Archie, Josie and the Pussycats, and Katy Keene. I thought that line-up skewed toward little girls, so I bought it stockpile in preparation for the day when monthly comics disappear. However, the Josie stories disappeared and Katy hasn't has a story for a couple of months, so I can't think of a reason to keep ordering it. Even my daughter, now eight months old, acts bored when I read it to her.
Nihilist-Man and His Amazing Friends #1
I bought it because I saw E-Man on the cover in Previews. It wasn't a bad comic, just nothing special either. However, I liked it enough that I'd order it if a Nihilist-Man comic was regularly offered.
The Mice Templar #1
I just couldn't get into this and I'm really not sure why. I found the story a little difficult to follow and that difficulty wasn't precipitated by an inherently complex story. I think the problem is the art, primarily the coloring. I just had problems remembering which character was which and by the end of the comic, I didn't really care. I've seen sample uncolored pages of Mice Templar on Newsarama and the art looks much clearer than I remember the art being in the actual book. I'm wondering if the coloring muddled the art, making the characters resemble each other more than the artist intended. On the whole, I don't know if I care enough to continue ordering the title.
JSA Classified #29
I dropped JLA Classified earlier this year because I found the stories pointless; I got more out of any back-up story in a DC comic back in the 80s then I did out of the JLA book and, after some strong stories, JSA Classified is becoming just as dull. The problem, as I see it, is that JSA Classified focuses on individual members of the team, which gives the rotating writers an excuse to be WRITERS, more concerned about showing off their craft rather than delivering a story about which a reader can care. Both of these titles would be well served to have permanent writer/artist teams. The writer here, Arvid Nelson, is no worse than most of the others that preceded him presenting character development and insight with rather pointless action. At least Nelson isn't a faddish writer, substituting narrative captions for thought balloons, so that is something in his and the story's favor. The art, however, is not a style I like, the characters are heavily inked and they do not look natural, but, rather, as snapshots in a panel. Some might like that style, but not me--at least when Greg Land does it, his characters are traced with a clean line.
The Flash #231
Eh. Mark Waid writing Flash never excited me like it does the rest of fandom, but I'll admit that that is my problem. I'll always have an expectation of what I expect in a Flash comic book and focusing on human drama--or having Wally drone on about his and Linda's perfect love together--will never be as exciting to be as watching a Flash use super-speed tricks to get out of a fantastic Rouge deathtrap. There was none of that in this issue, but I'm still not excited about this comic. I ca say that I am not crazy about the kids aging so rapidly due to their exhilarated metabolisms because it just feels like a set-up for an inevitable tragedy, probably just in time for Final Crisis. However, the biggest problem with the book is Daniel Acuna's art. I want to see art, not a demonstration of digital inking. And could could someone please someone could please explain to me why it is now acceptable for artists to let colorists carry the primary art burden, I'd be appreciative. It was good news to learn that he'll be leaving the book soon. I might be able to give the book a better chance with a new artist.
Daredevil #99
I always think I'm going to drop this book, but then the story becomes semi-interesting enough to keep me going. Personally, I'm tired of the "Frank Miller-light" Daredevil that we've had for what feels to me like the last thirty years; there are other ways to write the character and I think it may be time for one of those ways to be explored. Even the art by the usually great Michael Lark is sub-par to me; in fact, I had forgotten he was even drawing the book until I checked the credits. Maybe it is time to partner Lark with a different inker so that his style isn't completely lost.
Wonder Woman #12
I'm just killing time until Gail Simone starts writing the book.
New Avengers #33 Yu & McCaig
The Irredeemable Ant-Man #11
I know I'm supposed to like this, and I do, but just not enough to care that there is one issue left before cancellation. Maybe it is just my inherent dislike of the comic's conceit, that the protagonist is just a self-serving jerk or that if you really thing about it, the situation that set this title up should never have happened because there is no way Eric O'Grady could have passed S.H.I.E.L.D.'s psychological battery.
Dynamo 5 #6
The Clockwork Girl #0
A very enjoyable all-ages comic from Sean O'Reilly, Kevin Hanna, and Grant Bond. I'm adding this one to my monthly order and moving it into Category B for reading.
Mouse Guard Winter 1152 #1
The Last Fantastic Four Story
People have been kicking Stan Lee for this book, but I think the kickers are those with no appreciation of the past. The dialog was not as bombastic as previous current-day, Lee-written comics and if there were clinkers here and there, at least the words and actions rang were true to the characters unlike, say, Reed Richards as written in Civil War.
Category B
Amelia Rules! #18
This book. This book. It is a fantastic book and I look forward to the time when my daughter can read these comics. However, I always tread picking this book up because I know that Jimmy Gownley, Amelia's writer/artist is going to somehow touch me with the story. This issue was no different, telling the story of ten-year-old Amelia's "first date," but it also told the story a child dealing with the news that her father is being deployed to Iraq. (Not Amelia's father, her parents are divorced, but the father of a friend.) Gownley doesn't have an agenda in his story, except that anything that separates families is never a good thing. However, now that I am a father, it touched me even more. I recently turned down a job in Virginia because I would have had to go without my family; I can't imagine what it must be like for people on both sides of the equation for someone to have to leave leaving is part of the job and there is no assurance that person will be coming back. Another great story by Gownley.
Simpsons Comics #133
I never would have equated Chuck Dixon with comedy writing, but he does a good job getting the flavor of the television show in his Simpsons work.
Bart Simpson #37
Ty Templeton does double duty as writer and artist, and also captures the flavor of the show. Templeton deserves more opportunities at the Big 2 on mainstream books.
The Batman Strikes #36
Marvel Adventures Hulk #2
Marvel Adventures Iron Man #1
Legion of Super-Heroes in the 31st Century #5
Marvel Adventures Iron Man #4
Teen Titans Go! #46
Marvel Adventures Fantastic Four #27
The Oz/Wonderland Chronicles #2
Fantastic Five #3
When Tom DeFalco was editor in chief at Marvel I wasn't reading too much Marvel, so I can't speak to how damaging his tenure was to the company, but I like his work with the M2 characters. At least Mary Jane is still alive somewhere (assuming she dies in "One More Day"). Credit should also be to Marvel for giving Ron Lim work as the artist. It would be so easy to give these books to unknown artists at a cheaper rate, especially because art by people with style's like Lim's doesn't seem to be in favor much anymore, so it nice that Lim still has the job.
Fantastic Four Power Pack #2
Man, I have been loving this series of mini-series. I never read Power Pack the first time around, so I can't speak to how close it is to the original series, but I like the characters here. After a return in a solo mini, each new mini has guest starred a different Marvel hero or team. Thankfully, the guest star has never overshadowed Power Pack, not even when the Hulk was the title's visitor. Here, for instance, the book opens up with Jack Power running away with Franklin Richards because neither felt they were being treated properly by their respective families. The FF appears, but it is still a Power Pack story and it is Power Pack that brings the adventure to an end. Marvel has quietly cornered the market on kid-centric comics with this title, Spider-Man Loves Mary Jane, and the Franklin Richards one-shots, but you are missing out if you are over fifteen and not reading any of those comics.
Marvel Adventures Spider-Man #30
Why do I get a feeling that this is the kind of MU Spider-Man Peter David thought he was going to get to write when he went exclusive to Marvel. At least he gets to write that Spider-Man here, and I'm glad he does, because it is pure Spider-Man, unfettered by Marvel inter-title continuity.
Fantastic Five #4
Marvel Adventures #15
Jeff Parker is an unsung writer. He works under the radar, but he does consistently good work in done-in-one stories. Bendis needs to look at Parker's work to see how an Avengers title needs to be written. No talking heads here, just action and, yes, character moments if not true character development, which is all I need because I buy into the illusion of change concept.
Justice League Unlimited #36
Dare I say that this is the best Justice League title being printed. Well, until I read McDuffie's first issue of Justice League of America, and compared to the filler that appears in JLA Classified and the emptiness of Brad Meltzer's work now in Justice League of America, I say JLU is the best. A Question-centric story, it captures the character well, even if his dialog sounded more like it should be said by Rorschach. If you read any of the news out of the Baltimore convention, you may know that Dan Didio said this title is not necessarily canceled. It will run at least until the middle of next year and cancellation isn't necessarily a certainty, even if there are no more new episodes of the show. "If sales support the number of kids books out there, we'll keep them out there" I'd like to thing I did my part in that decision.
Category C
Amazons Attack! #4
Amazons Attack! #5
Nightwing #135
Jon Bosco, I'm sorry to say, is not a substitute for the art of Jamal Igle. Add to that the news that Marv Wolfman is leaving the book and I think I'll be leaving before Marv does.
Amazons Attack! #6
People hated this mini-series from what I've read. It wasn't anything special, but, IMO, the attack of the Amazons felt kind of like an empty threat. The best thing I've read, though, was the writer, Will Pfeifer, passing the buck on the story quality, saying there was a lot of editorial interference. I'm sorry, but a mini-series like this had to have been editorially directed from conception, so "interference" should have been expected.
Big Bang Presents #6 Agents of B.A.D.G.E.
The last issue of this title for the foreseeable future. Maybe its time has come, as the stories feel more bogged in continuity than stories from the companies being homaged.
Supergirl #20
Hellboy Darkness Calls #5
Superman #666
Saturday, September 01, 2007
Justice League Theme
.jpg)
Here's a little number from God knows when, but I'll bet from around the mid-sixties, that great time when I fell in love with comic books. The cut I've selected is titled Call the Roll (Justice League Theme) and you'll either love it or hate it. Fifty-fifty are pretty good odds.
If you're looking at this at work and Flash is blocked, click this link for the same experience.
Subscribe to:
Posts (Atom)