DC’s Rebirth – cool or not cool? Part 2/2: Justice League and Hellblazer

In part 1 of this two-part review post, I was reluctant to recommend the recently re-launched Flash and Batman comic book series to new readers. Let’s see if Justice League and Hellblazer do better. (Again, I read both with the prequel DC Universe Rebirth #1 in mind.)

panel detail from Justice League: Rebirth #1

Justice League: Rebirth #1

Language: English
Authors: Bryan Hitch (writer/penciller), Daniel Henriques (inker), Alex Sinclair (colourist)
Publisher: DC
Cover date: September 2016
Pages: 20

Price: $2.99
Website: http://www.dccomics.com/comics/justice-league-2016/justice-league-rebirth-1

I picked this book up because I thought it was a continuation of Bryan Hitch’s JLA (apparently officially titled Justice League of America, but on the cover it says JLA, so I’ll stick to that). And I think it was intended this way and will eventually become a sequel to JLA, because the funny thing is, JLA is still being published. Justice League: Rebirth references some events in JLA so it clearly takes place after JLA – a paradoxical situation probably due to JLA having been shipped late for some months. Right now, reading both series is confusing: in Justice League: Rebirth, Superman is dead and Simon Baz and Jessica Cruz are the Green Lanterns, whereas in JLA, Superman is still alive and Hal Jordan is Green Lantern.

Anyway, the story in this comic book is a one-shot about the Justice League fighting some giant alien in New York. There is very little connection to DC Universe Rebirth, except for the sub-plot about a second Superman getting ready to follow in the first one’s footsteps.

panel from Justice League #1

Justice League #1

Language: English
Authors: Bryan Hitch (writer), Tony S. Daniel (penciller), Sandu Florea (inker), Tomeu Morey (colourist)
Publisher: DC
Cover date: September 2016
Pages: 24
Price: $2.99
Website: http://www.dccomics.com/comics/justice-league-2016/justice-league-1

Bryan Hitch stays on board as writer while the art team is exchanged completely, and a new story starts that only vaguely builds on Justice League: Rebirth. The characters are the same though. And that’s the problem here: because it’s a superhero team with eight members, we don’t really learn anything about the individual characters. While Superman may still be deliberately kept in the background as a mysterious figure about whom more will be revealed in later issues, it’s frustrating when you keep wondering who these new Green Lanterns are and how they ended up in the Justice League (not to mention what has become of the old one).

Jumping-on point rating: ● ● ○ ○ ○

3 panels from The Hellblazer: Rebirth #1

The Hellblazer: Rebirth #1

Language: English
Authors: Simon Oliver (writer), Moritat (artist), Andre Szymanowicz and Moritat (colourists)
Publisher: DC
Cover date: September 2016
Pages: 20
Price: $2.99
Website: http://www.dccomics.com/comics/the-hellblazer-2016/the-hellblazer-rebirth-1

There is only one panel in DC Universe Rebirth that shows John Constantine; in it, he talks with Swamp Thing about Abigail’s disappearance, a plot which is continued in The Hellblazer #1. The Hellblazer: Rebirth, however, is a self-contained story about Constantine outwitting a demon with the help of Mercury, a character apparently introduced in the old Hellblazer series.

Once again I have no idea what the purpose of this Rebirth book is, as it is irrelevant to both DC Universe Rebirth and The Hellblazer.

3 panels from The Hellblazer #1

The Hellblazer #1

Language: English
Authors: Simon Oliver (writer), Moritat (artist), Andre Szymanowicz and Moritat (colourists)
Publisher: DC
Cover date: October 2016
Pages: 20

Price: $2.99
Website: http://www.dccomics.com/comics/the-hellblazer-2016/the-hellblazer-1

Constantine takes Swamp Thing to Mercury so that she can help him find his love interest Abigail. Meanwhile, two immortal beings who were present at the assassination of Franz Ferdinand meet again in the present day. Both of these sub-plots are merely set up here and will probably be continued in the following issues, but it is remarkable how they do not build on the Rebirth event at all. At the same time, Mercury is written as if she was supposed to be familiar to the readers (even though she didn’t appear in the pre-Rebirth Justice League Dark, for instance). Furthermore, this book is not a good introduction to the character of John Constantine, as we learn little about his backstory and the exact nature of his powers.

Jumping-on point rating: ● ● ● ○ ○

Summary: So was this whole Rebirth thing a good idea? If the point was to attract new readers, DC could have done much better. Instead of the unnecessary Rebirth issues (which will be collected in the first trade paperbacks of the individual series), they should have started the re-launched series with proper origin stories to fill the readers in on who the protagonists actually are. That would have been helpful for continuing readers too, who have only been left confused by DC Universe Rebirth.

Commercially, Rebirth seems to have worked for DC so far, but it remains to be seen if any noteworthy comics emerge from this mess. At any rate, the concept of continuity in superhero comics remains endangered.

 

 


DC’s Rebirth – cool or not cool? Part 1/2: Flash and Batman

In 2011, when DC ‘rebooted’ all of their comic book series (‘The New 52’), their sales figures improved drastically, at least for the first 1-2 years or so. Recently, with sales back on a low level, they must have thought: if it worked once, it must work twice. So DC relaunched/renumbered every title once again (with Action Comics and Detective Comics going back to their old issue numbers in the 900s), and indeed sales are up again. However, this ‘Rebirth’ is – once again – not a clean reboot. The stories don’t start from scratch, but rely on previously established continuity, or at least on bits and pieces of it. Are the Rebirth comics intended as jumping-on points for new readers, or to ‘fix’ continuity for old readers? Or will nobody be able to make sense of them? Let’s find out by looking at some of these new titles. Disclaimer: I have read neither Flashpoint nor Convergence, the two crossover events that bookend The New 52, which would have probably made it easier to understand what’s going on in Rebirth.

The starting point for it all is the prequel one-shot, DC Universe Rebirth:

panel detail from DC Universe Rebirth #1

DC Universe Rebirth #1

Language: English
Authors: Geoff Johns (writer), Gary Frank, Ivan Reis, Ethan van Sciver and Phil Jimenez (artists)
Publisher: DC
Cover date: July 2016
Pages: 66

Price: $2.99
Website: http://www.dccomics.com/comics/dc-universe-rebirth-2016/dc-universe-rebirth-1

“There’s something wrong with history. Someone has infected it and you all forgot things”, says Wally West (one of currently at least three characters named The Flash), who had been trapped inside the Speed Force. So both what happened before Flashpoint as well as what happened in The New 52 is ‘in continuity’ now, but this infection of time and memory loss are supposed to explain why everything was suddenly different in The New 52. DC Universe Rebirth is one big retconning attempt that even incorporates the Golden Age Justice Society of America, Crisis on Infinite Earths, and Watchmen. Which shouldn’t make things easier for new readers, but let’s see…

For each new/relaunched series there is a prequel titled …: Rebirth, e.g. for The Flash:

panel detail from The Flash: Rebirth #1

The Flash: Rebirth #1

Language: English
Authors: Joshua Williamson (writer), Carmine di Giandomenico (artist), Ivan Plascencia (colourist)
Publisher: DC
Cover date: August 2016
Pages: 20

Price: $2.99
Website: http://www.dccomics.com/comics/the-flash-2016/the-flash-rebirth-1

The Flash is at the center of the Rebirth crossover event, so it makes sense to begin with his series. This series, like its New 52 predecessor, starts centered on Barry Allen, not Wally West. It then repeats the scene where Wally West manages to escape from the Speed Force and meet Barry Allen. However, instead of simply reprinting the two pages in question, they are redrawn by di Giandomenico, with the text remaining unchanged. It’s a rare treat to see a part of the same script handled by two different art teams, so there’s no reason for the reader to feel cheated here. As for the story, not much happens. Wally does some more explaining/retconning: “There are pieces of our memory missing from both of us. They didn’t just take time – they took our lives, they took our friendships, our loves…”

The Flash #1

Language: English
Authors: Joshua Williamson (writer), Carmine di Giandomenico (artist), Ivan Plascencia (colourist)
Publisher: DC
Cover date: September 2016
Pages: 20

Price: $2.99
Website: http://www.dccomics.com/comics/the-flash-2016/the-flash-1

This comic shifts the focus back to Barry Allen again, and to yet another Flash, confusingly also named Wally West, who apparently had already been introduced at some point in the New 52 Flash series. While the other Wally West, together with Batman, continues to investigate this whole Rebirth mystery off-panel, an unconnected story with a new villain begins for Barry Allen.

This could develop into an entertaining series, as long as you’re willing to forget about the more exciting story that started in DC Universe Rebirth and The Flash: Rebirth.

Jumping-on point rating: ● ● ○ ○ ○

Speaking of Batman…

3 panels from Batman: Rebirth #1

Batman: Rebirth #1

Language: English
Authors: Tom King and Scott Snyder (writers), Mikel Janín (artist), June Chung (colourist)
Publisher: DC
Cover date: August 2016
Pages: 20

Price: $2.99
Website: http://www.dccomics.com/comics/batman-2016/batman-rebirth-1

The story told in this comic is completely unrelated to DC Universe Rebirth. It feels like the epilogue to a previous story, but I don’t know how the New 52 Batman series ended. Batman fights an interesting supervillain, Calendar Man, then hires Duke Thomas as a new Robin (just don’t call him Robin), and performs some unlikely stunts. Reading The Flash and Batman side by side, it’s striking that both new sidekicks, ‘Wally West II’ and Duke Thomas, are African-Americans; however, both were created before Rebirth.

From here the Batman series splits into two new comics, All-Star Batman (written by the old Batman writer Scott Snyder) and Batman (written by Tom King). I picked the latter:

Batman #1

Language: English
Authors: Tom King (writer), David Finch (penciller), Matt Banning (inker), Jordie Bellaire (colourist)
Publisher: DC
Cover date: August 2016
Pages: 20

Price: $2.99
Website: http://www.dccomics.com/comics/batman-2016/batman-1

And once again, a completely new story (about Batman trying to avert a plane crash over Gotham and meeting two new rivalling superheroes) starts with no connection to either Batman: Rebirth or DC Universe Rebirth, except for the previously introduced Duke Thomas who makes a brief appearance here.

Even more so than The Flash #1, this comic book looks like a good jumping-on point if and only if you ignore the two Rebirth prequels.

Jumping-on point rating: ● ● ● ○ ○

“The Capsule’s Pride (Bikes)”: Bwana remixes Akira soundtrack

Bwana, producer of electronic music from Toronto/Berlin, has released an EP titled The Capsule’s Pride (Bikes) (Comicgate reported last week) for which he had rearranged the Akira anime soundtrack into 9 EDM tracks. This EP is available for free both as audio stream and YouTube video playlist. The latter is more interesting in this context: each video consists of a sparsely animated black-and-white still image from Akira. The funny thing is, the images are taken from the manga, not from the anime.

still from Capsule's Pride (Bikes) by Bwana

It’s funny because not only music samples were taken from the anime, but also dialogue samples (from the English dub) that directly refer to the major plot difference between the comic and its adaptation: “there is your messiah…” (in both track 1 and 5). At first I thought, whoever made those videos didn’t know the material well. On the other hand, at least two of the videos fit the titles of the corresponding tracks: the video for the title track “Capsule’s Pride (Bikes)” shows Kaneda on his motorcycle (pictured) – his first one, the one he has when he is still leader of the “Capsule” gang – and the video for “K&K (Lovers in the Light)” shows Kei and Kaneda. Another nice touch is that the Canon decal in the former image has been inconspicuously replaced by one bearing Bwana’s name.


Not-so-successful transition from web to print: Josh Tierney’s Spera

A nice rendition of the protagonsits, Lono and Pira, by Rachel Saunders in the online version. Interestingly, this scene is missing from the printed book.

A nice rendition of the protagonsits, Lono and Pira, by Rachel Saunders in the online version. Interestingly, this scene is missing from the printed book.

Language: English
Authors: Josh Tierney (writer), various artists
Publisher: Archaia (an imprint of Boom! Studios)
Year: 2013
Pages: 90 (main story) / 176 (including short stories)
Price: US-$ 19.95
Website: http://spera-comic.com/
ISBN: 978-1-936393-30-5

Sometimes, it takes little to make a good print comic out of a good web comic (e.g. Robin Vehrs’s Western Touch/Enjambements, reviewed on this weblog). Spera was a good web comic, too, and when its print publication was announced, I was looking forward to it. The concept of Spera was crazy, in a good way: the entire script was written by Josh Tierney, but every 3-8 pages (some of which have large “infinite canvas”-like layouts) the artist would change.

Over 40 artists contributed back then, which resulted in a variety of styles, and also in vastly different levels of quality. Sometimes you couldn’t even figure out what was going on in the illustrations if you hadn’t read Tierney’s synopsis at the start of each section. For the print version, it looks like Tierney (or his editors at Archaia?) wanted to have more consistent art, so the same script is now illustrated by only four artists: Kyla Vanderklugt, Hwei, recent Eisner Award winner Emily Carroll, and Olivier Pichard. Don’t get me wrong, all four of them are superb artists, and on average, the art is probably better in the book than in the web comic.

However, this printed Spera is no longer a bold experiment in comic-making. It’s just a run-of-the-mill fantasy story. The only element in the story that some readers will find interesting is the gender-bending aspect. Furthermore, the dialogue is often awkward and clumsy (“I want to be my own person, exploring secret dungeons and caves. I want to find things made out of gold and silver and trade them for cool weapons”).

On the other hand, the book is designed beautifully as a heavy hard cover volume with golden ornaments on the cover, a map printed on the endpapers, and other nice touches (but still reasonably priced). That’s one advantage over the online version. Still, overall I’m disappointed of how this book turned out, and I probably won’t read any of the following volumes (three to date). If only they had given this book another title, “Spera Reloaded” or something like that…

Rating: ● ● ○ ○ ○


Bartkira the animated trailer

(via Major Spoilers)

Remember Bartkira, the comic mashup of Akira and The Simpsons (mentioned briefly here one year ago)? Based on this idea, Kaitlin Sullivan, in collaboration with many other artists, has made an animated short film. This fan film adapts the animated Akira film rather than the comic, so we get to see some new scenes and characters not present in Bartkira the comic.


Recent Akira adaptations

In my PhD research I don’t deal with 21st century reception of Akira, but recently I’ve come across some interesting adaptation projects which I wanted to share here, just in case you haven’t heard about them already:

The Akira Project – Live Action Trailer (via Major Spoilers)

A three-minute fan-made “trailer” for a live-action film that doesn’t exist (i.e. not the one that was recently announced to be at the scriptwriting stage).

 

Player Piano – Akira (via Geek & Sundry)

An elaborate video of a performance of the anime soundtrack.

 

Bartkirahttp://www.bartkira.com/ (via Comicgate)

A faithful panel-by-panel remake of the manga – except all original characters have been replaced by Simpsons characters.

panel from Bartkira vol. 1

 


X-Men: Days of Continuity are Past

Who's that girl?

Who’s that girl?

X-Men: Days of Future Past is still being shown in German cinemas, and by now, probably more than a million people have seen it here. While I found it enjoyable enough, I’m still wondering who these Marvel films are made for. Or, to put it differently: are film makers still concerned about continuity at all, or is it considered nitpicking and party-pooping to point out continuity errors in this postmodern day and age?

Basically, I can think of four ways in which films deal with continuity:

a) the film is a stand-alone story and doesn’t need to adhere to any extra-textual continuity;

b) the film is part of a series of films and conforms to the continuity established by the earlier films;

c) the setting of the film (“world”/”universe”) is adapted from another medium and is consistent with the continuity established there;

d) the entire story of the film is adapted from another medium, and continuity is not an issue as long as the adaptation is faithful.

The problem with films like X-Men: Days of Future Past is that their category would be “e) all of the above”. There’s the continuity of the previous X-Men films and the continuity of countless X-Men comics, and X-Men: DoFP makes references to both and can’t be fully comprehended without ample knowledge of both. However, the two continuities are not quite compatible with each other, and each of them has its own issues, so it comes as no surprise that X-Men: DoFP isn’t free of continuity errors either. A month ago, Rob Bricken published this helpful overview on io9: http://io9.com/8-ways-x-men-movie-continuity-is-still-irretrievably-f-1581678509

Not mentioned there is the conundrum of Pietro/Peter Maximoff and his sister(s), which is explained in Empire magazine (see e.g. here).

All this makes me wonder: if everything we see in a film is potentially subject to later revisions, and ultimately nothing is authoritative, why do filmgoers still care about these stories at all? Many comic book readers, tired of convoluted continuities and endless retconning, have turned their backs on this kind of storytelling years ago. How long will it take cinema audiences to realise that all these superhero “cinematic universes” make little sense?


DC’s The New 52 – cool or not cool? Part 2/2

Earlier this week I looked at three comic book series from The New 52, and found that the first issue of each wasn’t very newbie-friendly, contrary to what DC had advertised. Let’s analyse three more titles today and assess their jumping-on adequacy.

Batwoman #1

Batwoman #1

Language: English
Authors: J. H. Williams III (writer/artist), W. Haden Blackman (writer), Dave Stewart (colourist)
Publisher: DC
Released: 2011-09-14
Pages: 22
Price: $2.99
Website: still no series information at DC.

A lot of people seem to like this series, or more precisely, J. H. Williams’s art. I for one found it too sexploitative even by mainstream superhero comics standards, and consequently didn’t bother to read Batwoman past this first issue. The story starts with a supernatural crime case which both Batwoman and the Gotham City Police Department try to solve. Intercut are some scenes of Batwoman training her sidekick, and of a mysterious organisation that is probably more prominently featured in later issues. This setup is straightforward enough to grasp the basics of this setting, but then again there are many references to previous events, such as the double page on which Batwoman talks to her father about the past, with a background filled with scenes that are inscrutable for the new reader.

Jumping-on point rating: ● ● ○ ○ ○

Swamp Thing #1

Swamp Thing #1

Language: English
Authors: Scott Snyder (writer), Yanick Paquette (artist), Nathan Fairbairn (colourist)
Publisher: DC
Released: 2011-09-07
Pages: 22
Price: $2.99

As I’ve written in my previous reviews of this series, Scott Snyder doesn’t make it clear right away whether or not protagonist Alec Holland really is the Swamp Thing. In his dialogue with Superman, Holland says that he once was Swamp Thing but has renounced this superhero identity. At the end of this issue, Holland and the Swamp Thing (or ‘a’ Swamp Thing) are in fact shown as two distinct figures talking to each other.

Again, past events are referenced heavily in this book, but this time, it feels more like a deliberate, clever element of ambiguity, rather than as if you’re missing out on something if you haven’t read all previous Swamp Thing comics. For those readers already familiar with Swamp Thing, there are several easter eggs to be discovered in the drawings in the form of fictitious company names on labels which pay tribute to the original Swamp Thing creators.

Jumping-on point rating: ● ● ● ● ○

Justice League Dark #1

Justice League Dark #1

Language: English
Authors: Peter Milligan (writer), Mikel Janin (artist), Ulises Arreola (colourist)
Publisher: DC
Released: 2011-09-28
Pages: 20
Price: $2.99

I’ve already written about the art of this series in a previous post, but let’s focus on the story here: as in some of the other comics, mysterious supernatural things happen, and superheroes investigate. The Justice League fails, though, and the clairvoyant Madame Xanadu assembles a team that is more apt to deal with mystical threats – the eponymous Justice League Dark (although that name isn’t used here). Thus, this first issue is a typical team origin story. Each member is introduced briefly and we learn about their respective powers, except for Deadman, who is only featured on two panels for the time being. This book requires some basic knowledge of the Justice League, e.g. Zatanna’s affiliation. More importantly, the Justice League members refer to the villain, the Enchantress, as a familiar figure, although new readers probably won’t have heard of her.

Jumping-on point rating: ● ● ● ○ ○

 

To sum up, hardly any of the six New 52 number ones I’ve read are particularly good jumping-on points. This is mainly due to the editorial decision to maintain the status quo: if you have all these characters and their backstories and their established settings and back-up casts, why not continue to use them? Any major change would have angered the old readers, and DC didn’t want to risk that. That’s why their comics are still not attractive for new readers.

Apparently, DC’s business strategy is to hold on to the old readers and make them buy as many comics as possible, which is why they let “crossover mania” break out in each New 52 title. Before too long, the continuity of the DC universe will be so messed up again that the next half-hearted “reboot” will be necessary to unravel it. Eventually, the target audience won’t take note anymore.


DC’s The New 52 – cool or not cool? Part 1/2

In September 2011 – two years and eight months ago – DC started this New 52 thing. So it’s hardly “new” anymore, but they still put “The New 52” on their comic book covers. Maybe this time is as good as any to ask: was it all worth it?

First of all, what is The New 52? Some people call it a relaunch, or a reboot. Essentially, though, it was a renumbering: all of DC’s monthly comic book series were set to “#1” in September 2011. Therefore, Action Comics #904 from August 2011 is followed by Action Comics #1 in September instead of #905. Likewise, there is no Detective Comics #882, and so on. This seems like a risky idea, but commercially, it worked wonders for DC, at least in the beginning. By now, it looks to me as if the sales boost effect has waned, judging by the estimates published on The Beat, for instance (see e.g. this column by Marc-Oliver Frisch on DC’s July 2013 sales).

Back in 2011, the goal behind this move seems to have been to make people start reading DC comics who had not been reading them before, advertising the new “first” issues as good “jumping-on points”. The problem with these #1 issues was, they were not actually “relaunching” or “rebooting” their respective series, at least not in my understanding of these terms. A proper relaunch or reboot would have been to wipe the slate clean and start from scratch by introducing the characters and their settings again, without relying on knowledge that readers have acquired through other, previous material. Although the creative teams of each series changed and new story arcs began, it was never clear how much the new series built on the old continuity, or to what extent that backstory would be retconned. Later, DC tried to alleviate this problem and fill in the blanks through events like “Zero Month” (or the current “Secret Origins”). At any rate, I don’t think DC did a good job at catering to new readers (probably in order not to lose their old core readership), as I will show in this two-part blog post using the example of six number ones from The New 52. Here are the first three, in no particular order:

The Flash #1

The Flash #1

Language: English
Authors: Francis Manapul (writer/artist), Brian Buccellato (writer/colourist)
Publisher: DC
Released: 2011-09-28
Pages: 20
Price: $2.99
Website: the links given on the DC website are all broken.

I picked up the first Flash trade paperback mainly because of Marc-Oliver Frisch’s glowing review of #1, and because I wanted to see how this unusual creative team setup (writer plus writer/artist) worked out. The merits of this comic aside, it’s not a particularly good jumping-on point for readers unfamiliar with its eponymous protagonist. The title page on p. 4-5 briefly tells his origin story:

Struck by a bolt of lightning and doused in chemicals, Central City police scientist Barry Allen was transformed into the fastest man alive. Tapping into the energy field called the Speed Force, he applies a tenacious sense of justice to protect and serve the world as The Flash.

Seriously? Lightning? Chemicals? “The energy field called the Speed Force”? We’re in the 21st century now, but this reads like some Golden Age origin story full of magical thinking. And it doesn’t explain where Barry got his ring from, from which his costume somehow emerges and wraps around him. The Flash’s basic superpower – speed – is easy enough to understand, but on p. 8, he uses two secondary powers that aren’t as easy to grasp: levitating things by producing vortices from his hands, and vibrating through solid objects. Francis Manapul and Brian Buccellato surely didn’t make these things up, but that is of no help to the new reader.

For readers who are somewhat but not overly familiar with The Flash, it may be confusing that there’s this character called Iris West, hinting at the possibility that Wally West, another Flash, might still be introduced later in the story to complicate things further. Another weak point of this story is the characterisation of Barry, or lack thereof. In the next few issues, the supporting character Manuel seems more fleshed-out than Barry.

Jumping-on point rating: ● ● ○ ○ ○

 

Batman #1

Batman #1

Language: English
Authors: Scott Snyder (writer), Greg Capullo (penciller), Jonathan Glapion (inker), FCO (colourist)
Publisher: DC
Released: 2011-09-21
Pages: 24
Price: $2.99

From its launch up to now, Batman was always one of the best-selling comics book series on the American direct market, regularly outselling all other series except for new launches, crossover events or other special issues. (On the other hand, it is the only series with estimated monthly sales consistently over 100,000 copies, which says a lot about the current state of the industry.) It probably couldn’t have enjoyed that success on the basis of its title alone, so I eventually read the first TPB and wasn’t disappointed: Scott Snyder and Greg Capullo did craft a gripping story.

It is also a story that is accessible to new readers, although it may help to know who e.g. the Joker is. There are only two scenes that might be problematic for the newbie: one is Batman fighting a multitude of villains at Arkham Asylum at the beginning of the comic, some of which are quite obscure and “wasted” as extras in a melee. The other is the brief introduction of the “Bat-Family”: Dick Grayson a.k.a. Nightwing, Tim Drake a.k.a. Red Robin, and Damian Wayne a.k.a. Robin. Only one of the three is relevant to the story, so they’re only introduced here for (intra-New-52) continuity’s sake.

Jumping-on point rating: ● ● ● ○ ○

Animal Man #1

Animal Man #1

Language: English
Authors: Jeff Lemire (writer), Travel Foreman (penciller), Lovern Kindzierski (colourist)
Publisher: DC
Released: 2011-09-07
Pages: 20
Price: $2.99

Animal Man is another comic that I only bought in collected form, probably around the time of the crossover with Swamp Thing. Jeff Lemire is, beside the aforementioned Scott Snyder, the other new “superstar” writer to emerge from The New 52. That status, however, wasn’t enough to prevent the cancellation of Animal Man with #29 two months ago.

Initially, Animal Man’s superpower was to temporarily gain one single ability of one single nearby animal, e.g. strength from an elephant, or flight from a bird. A goofy but fun concept. Later (but still before The New 52), he gained the ability to take on powers from all living beings, not only those nearby. That made him one of the most boring superheroes ever, as he can now at any time gain superstrength and flight etc., like so many other superheroes.

In Animal Man #1, this leads to clumsy storytelling by way of internal monologue in captions, such as “I just take on the weight of a bumblebee”, or “I reach out and grab the napping ability of a cat” (p. 14). Anyway, unfortunately for new readers, the story in this issue isn’t so much about Animal Man and his powers, but rather the beginning of an arc that puts Animal Man’s daughter Maxine in the foreground as the “avatar of the Red”. This new metaphysical concept of the three struggling primordial forces, the Red, the Green and the Rot, is relatively well explained in the following issues, but it overshadows Animal Man as a character.

Another potential problem with this comic for old and new readers alike is Travel Foreman’s art, which is certainly distinctive with its expressive lines and scarce but heavy cross hatching. I for one never got used to it. Readers already familiar with Animal Man will notice how similar the setting is to that of Grant Morrison’s acclaimed run from the late 1980s, with a focus on Animal Man’s domestic life with his wife and two children. This raises the question, though, how these runs are interconnected, or why all the familiar characters are still the same age as back in the 80s, even though the story is clearly set in the present day.

Jumping-on point rating: ● ● ○ ○ ○

For two other interesting takes on The New 52 and its convoluted continuity, see Vaneta Rogers’s blogpost “The NEW 52 Two Years Later: The Reboot’s Biggest Surprises” at Newsarama and Paul C’s “The New 52 Continuity: It ain’t so bad!” at Last of the Famous International Fanboys.


Before Watchmen roundup, part 2: Minutemen and Rorschach

Last month I looked at Before Watchmen: Ozymandias, the storytelling of which I found disappointing. This month I’m going to look at two Before Watchmen titles which refer to the original Watchmen series in somewhat different ways.

from Minutemen #1 by Darwyn Cooke / DC ComicsReview of Before Watchmen: Minutemen #1-3 (of 6)

Language: English
Authors: Darwyn Cooke (writer/artist), Phil Noto (colourist)
Publisher: DC
Pages: 26 (#1) / 22 (#2-3) (+2 pages of backup story)
Price: $3.99
Website: http://www.dccomics.com/comics/before-watchmen-minutemen-2012

The fourth issue is already available (see e.g. this review at Major Spoilers), but as always I have to wait for the next mail order shipment to get it, so this review covers only the first three issues.

I imagine writing Minutemen must have been both easier and harder than the other Before Watchmen books: easier because not as much is said about them in Watchmen, which gives the writer more freedom, and harder for the same reason, because all the bits of information on the Minutemen scattered throughout the original comic need to be put together and integrated into a coherent story.

The framing narrative is Hollis Mason writing his book “Under the Hood” shortly after his retirement as the first Nite Owl in 1962, reflecting on his Minutemen days, and re-telling their story once again. This time, his story goes into more detail than what we have read in the “Under the hood” excerpts in Watchmen, and his words (caption text) are accompanied by pictures. As a result, we’re getting a much more fleshed out account of the formation of the Minutemen.

However, it’s more complicated than that. While Mason’s words refer to the pictures they’re placed in, it becomes clear that the art doesn’t merely illustrate the captions. We’re seeing things (and reading things in word balloons) that Mason cannot have seen (and heard), because e.g. in the episode on Hooded Justice in issue #1, he was standing in front of a building, but we get to see what happens inside it.

In issue #2, this narrative mode stops after the first ten pages, and from then on the text is only in straight dialogue (apart from a quoted poem interwoven with the main narrative). Mason’s 1962 voice returns in issue #3 for three pages, and then it’s word balloon text again, this time with the ironic addition of inserted panels from a fictitious 1940s “Minutemen #1” comic book. This more straightforward storytelling approach lends itself better to the episodes Darwyn Cooke tells: the ones that are not covered in Watchmen, e.g. the first Minutemen mission, or the expulsion of the Comedian after he had raped Silk Spectre. Other episodes contain scenes that explicitly show the homosexuality of Captain Metropolis, Hooded Justice and the Silhouette. Although Alan Moore/Hollis Mason strongly suggests this in Watchmen, showing it unambiguously takes away some of the mystery surrounding the Minutemen, so I’m not happy with Cooke’s choice to do so.

In general, though, I’m more comfortable with the storytelling approach in Minutemen than the one in Ozymandias. Add Cooke’s impressive reduced layouts and drawing style, and you end up with a solid comic book.

By the way, did anyone recognise what is depicted on the first panel of the second page in issue #1? All I can see is a manhole cover and rain, but what are the yellow and brown areas, and where exactly is that place supposed to be?

Rating: ● ● ● ○ ○

 

from Before Watchmen: Rorschach #2 by Brian Azzarello and Lee Bermejo / DC Comics

Review of Before Watchmen: Rorschach #1-2 (of 4)

Language: English
Authors: Brian Azzarello (writer), Lee Bermejo (artist), Barbara Ciardo (colourist)
Publisher: DC
Pages: 24 (#1), 22 (#2) (+2 pages of backup story)
Price: $3.99
Website: http://www.dccomics.com/comics/before-watchmen-rorschach-2012

The outline of Rorschach is quite different: instead of fleshing out Rorschach’s origin story (which he himself tells in Watchmen), we’re following him on what could be an average day in his life as a masked vigilante, as he is going after a drug dealer ring. The story is set in 1977, 13 years after Walter Kovacs first donned the mask of Rorschach and 8 years before the beginning of Watchmen. Is this version of Rorschach any different from the one we’re familiar with from the original series? Maybe. I found both his caption text monologue (his journal) and his speech bubbles too verbose, his way with the Gunga Diner waitress too friendly. Either Brian Azzarello is going to put Rorschach through a change that will make him more like he is in 1985, or his Rorschach is just slightly different from Alan Moore’s.

Despite this possible inaccuracy in the writing and the so far unassuming nature of the story, this series is still a good read, mainly due to Lee Bermejo’s striking, timely (i.e. for the 21st century) artwork, and the brilliance that Barbara Ciardo’s colouring adds to it.

Rating: ● ● ● ○ ○