Chris' Comics Corner

So is anything going on in comics news this week?

Ahahaha just kidding.

Seriously though, we'll dive into the DC plans in greater detail once more concrete announcements are made.

For now, let's focus on the here and now, and here and now was a great week for comics!

Fear Itself #3
Publisher: Marvel
Writer: Matt Fraction
Artist: Stuart Immonen

“Our CAPITAL, Sharon. Going out for some air. Might be a while...”

After a slightly weak second issue, things kick into high gear with the latest installment of Matt Fraction's summer epic.

The thrills start with Bucky Cap leading some of the Avengers into battle against Sin and her forces in D.C. and the action doesn't let up as the Avengers and the Future Foundation confront the other members of the Worthy who are wreaking havoc around the world. Fraction does an excellent job of raising the stakes in this issue, as the assembled heroes of the Marvel Universe are stretched thin facing threats that were quite formidable before they were bequeathed power bestowing hammers of Asgardian origin. Not to mention the fact that Asgard is gearing up to wipe out humanity to deprive the Serpent of the fear on which he thrives.

The real strength of this issue comes during the scenes where Thor is interacting with his Asgardian brethren. Loki continues to make the most of his second chance after being resurrected as a child, reaching out to his brother and doing whatever he can to aid Thor and make him proud. Thor's showdown with Odin is nowhere near as explosive as their confrontation in the first issue, however it is equally fascinating, and further demonstrates the complexity inherent in their relationship.

My only complaint is that the series has been so action heavy in the last two issues, we haven't had time to examine the emotional tole that all this destruction is having on the Marvel Universe and the assembled heroes. Given that two of the Worthy are members of the heroic community, there is a goldmine of emotional character driven moments to be explored that have so far been relegated to the tie in issues. Fraction did such a great job of capturing the mood of anxiety in the first issue, and is such a master at crafting a variety of character's voices, that it would be a great shame if he did not take the chance to explore what his protagonists are feeling as they face unstoppable odds, watch comrades fall, and see two friends turned into mindless engines of destruction.

Stuart Immonen must be having a blast on this series, as he gets to smash all the toys together in a variety of exotic locations across the Marvel Universe. The fight scenes are brutal. I mean really brutal, which is especially important in a series where the antagonists are all juggernauts of destruction (one of them is in fact the juggernaut). Immonen's take on Bucky Cap, Black Widow, and Falcon are especially iconic, and the shocking ending scene is especially well choreographed, to really tug at the heart strings.

This issue ends on a major cliffhanger, and if all is as it seems, the events of this issue will have major ramifications for the entire Marvel Universe going forward. I’m used to comic fake outs so I’m not ready to call this like I see it. All I’ll say is that if this was the end for one of the protagonists, then it was a fittingly heroic one, especially in light of said protagonist’s speech to rally their comrades. After a minor hiccup of a second issue, this blockbuster is back on track.

Grade: A-



Flashpoint #2
Publisher: DC
Writer: Geoff Johns
Artist: Andy Kubert

“You weren’t fast enough to avoid that you delusional son-of-a-bitch.”

Now this is more like it. After a first issue which felt like a lot of exposition (interesting exposition, but still). This issue really draws readers into the world of Flashpoint, showing us just how different and bleak things are in this altered timeline.

The issue begins with a very creepy scene in which Deathstroke and his band of pirates make the mistake of sailing too far into Aquaman occupied territory. The fury of the sea king can only be matched by that of Wonder Woman and her furies as she stalks Special Agent Steve Trevor across the ruins of London. This is the introduction I wanted to see in the first issue, and had we gotten a taste of just how merciless and powerful these two are in this world right at the get go, I believe the scene from the first issue where Cyborg was assembling the heroes of the Flashpoint universe would have been much, much more effective.

The rest of the issue is devoted to Barry Allen trying to convince Batman that the world is not as it should be, a task that becomes much easier when Barry reveals a key detail about how the world was that immediately brings this Batman onboard with the cause of restoring Barry's powers and righting history. While there is still no sign of the Flash, Barry is much more interesting to watch this time around, as he forms a plan to deal with his situation, one that includes a substantial risk of personal injury.

A lot of this issue takes place in the Batcave, but Andy Kubert is able to make these scenes engaging and dynamic. The opening visuals of the issue are truly creepy, and Kubert maintains a palpable level of suspense for the entire first segment. The debut of Aquaman and Wonder Woman are rendered with the gravitas needed to sell the power and danger that these two represent to the characters they interact with and to the world at large. Finally the last few pages are masterfully choreographed and again, steeped in suspense. I would especially make note at the emotion that Kubert endows Batman with through posture given that we cannot see his expression for most of this sequence.

Given the information that is starting to leak out regarding DC's plans for the future, this series may indeed be remembered as one of the most important comics of the decade given its role in reshaping the continuity of the DC universe. It is quite possible that it will come to be spoken of in similar breaths as Crisis on Infinite Earths if the ramifications are as far reaching and dramatic as they appear to be. However given all the hype about what is about to come, take the time to enjoy this series for what it truly is. A return to form for Geoff Johns, and some of the best work Andy Kubert has done in recent years.

Grade: A-


Criminal: The Last of the Innocent #1
Publisher: Marvel Icon
Writer: Ed Brubaker
Artist: Sean Phillips

“It’s good being back in the old times.”

SPOILERS

The wait time between each new volume of Criminal seems like an eternity. The reason for this, is that the book is just so damn good, that it is almost frustrating to finish each issue, knowing that once the current volume is done, the inevitable, painful wait for the next volume will begin.

One issue in, and I do believe that this may just be the best installment of Criminal to date. The story is full of references sure to catch the eye of long time Criminal readers, and long time comics fans to boot. Set in 1982, this volume tales the story of Riley Richards returning home to see his ailing father. Riley has his own troubles back int the city without a name, but for now he is consumed by the past and thoughts of how his life turned out the way it did.

This is an intensely personal story for Brubaker, as he tells the reader in the afterward that this story was in a way inspired by the passing of his own father. And it shows in the level of craftsmanship that Brubaker pours into the structure, dialogue, and tone of the issue. The story is universally relatable as the main character wrestles with loss, nostalgia, and questions of what might have been.

Sean Phillips is in fine form as always, but what will have most people talking about this issue is the Archie-esque flashback sequences to Riley's childhood. The visuals are so clean and innocent, evoking that style so perfectly and bring about a yearning for a simpler time. The content of these scenes however is something very different, sometimes detailing slices of Americana, sometimes detailing content that is quite adult. Its about as Archie as Criminal could ever be, and the scenes are very powerful because of the contrast between style and content, all the while reminding us that maybe the past is never quite as perfect as we might imagine it.

The issue ends on a shocking cliffhanger that will hit you like a punch to the gut. For those of you who are turned off by the tights and capes set of the comics world, and even those of you who love super hero comics, I highly advise you, check out this book. It is a must read for fans of mature, gritty noir, and is a masterpiece of storytelling in this medium.

Grade: A+

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Chris' Comics Corner

Hey all, I'm trying to get back on schedule, so this column includes reviews from the past two weeks, hope you enjoy.

Flashpoint #1
Publisher: DC
Writer: Geoff Johns
Artist: Andy Kubert
Event Watch: Flashpoint Part 1 of 5

SPOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOILERS

Flashpoint #1 is quite possibly the most important comic DC releases all year. Why? Because DC has a lot riding on the success of this limited series.

In the short term, Flashpoint is DC's big summer event and direct challenger to Marvel's Fear Itself. The sales of comics in the summer are driven by events and their tie ins, with the event books and their tie ins eclipsing the sales of just about everything else on the stands. With the two central protagonists of Fear Itself appearing in big blockbuster summer movies, Marvel already has the edge in this category, but Flashpoint boasts an unprecedented number of tie in miniseries. What Flashpoint lacks in exposure it might just make up in sheer volume.

However a short term victory in sales this summer has bigger long term ramifications for DC and the Comics Industry as a whole. As the name of this book might suggest, Flashpoint focuses on the Flash, and is the first DC wide event to place the Scarlet Speedster in such a position of prominence. Flashpoint is (and pardon me for what is the first of what I'm sure will be maaaaaaaaany puns) DC's attempt to see if lightning can strike twice and if Geoff John's can elevate the Flash to the same kind of prominence he achieved in elevating Green Lantern to, back in 2004. Looking even further down the road, the fact that every DC writer and editor has been sworn to secrecy on what the shape of the DCU will be in the aftermath of Flashpoint (In fact aside from Batman Inc., I have nooo idea what any title has in store past the summer) suggests that the companies future plans to reinvigorate its catalogue and compete with Marvel are highly dependent on this series (the foundation for the company's immediate future) being a success.

Like I said, there is a. lot. riding on this book.

So how was the first issue? It was…ok. Which given the enormously high aforementioned stakes, is not the best thing. By itself it is a good issue, but it is not what DC needed it to be. At least not yet.

The issue begins with Barry Allen realizing that the world as he knows it has changed. While the differences are subtle at first, he quickly makes two major discoveries: He is no longer the fastest man alive, and his mother is alive. This leads to a very powerful and heartfelt reunion between mother and son, especially for those who have been reading the recent relaunch of The Flash title.

As far as the story, things kinda go downhill from there. Not bad per se, just nothing exceptional. Most of the issue is devoted to Barry running around in confusion, which I suppose is necessary but in an event that is only 5 issues long that exists primarily to elevate the status of The Flash, having him bumble throughout the new reality powerless is probably not the best way to do it, as it does not give readers a reason to care about Barry as a person, or show just how cool a hero the Flash is. Granted there is still time to do this now that we've moved past the establishing phase but I really think it would have been better to hit the ground running. (…I apologized once, I won't do it again).

The rest of the issue is devoted to a vote among the heroes of this altered world on what to do about the war between Aquaman and Wonder Woman that's currently devastating Europe. While this sequence was fun and entertaining at times, it felt like what it was: a lot of exposition. Having the characters tell the readers about the problems that Aquaman and Wonder Woman are causing rather than showing us, leaves the reader with the impression that not a lot happened in the issue, when actually there was a lot of content packed into these pages.

I did like this scene, and I think it was an effective way to introduce us to the players and their world, but I think it lasted a bit too long, and would have felt more satisfying if it had done more to advance the plot. That being said, I commend the choice Johns made to populate this world with lesser known and new characters rather than alternate versions of the A and B listers. Additionally, the twist regarding Batman at the end of the issue was particularly inspired and satisfying.

Andy Kubert is a highly talented artist perfectly suited to the dark and gritty world of Flashpoint. Seeing his Batman swinging across the Gotham skyline makes me pine for his all too brief stint illustrating Grant Morrison's Batman. His character is especially impressive in this debut issue, possibly even a career high, as every face is unique and emotive. His layouts, choreography, and use of multiple angles reveals his vast experience and skill The amount of characters and actions that he packs into these pages could have easily overwhelmed another artist but Kubert handles it like a pro. My one gripe is that I'll have to wait at least another issue to see Kubert render The Flash in action.

I think the main strike this book has against it is the fact that DC decided to tell this story as a big summer event. Had this been just another arc of the Flash, I think a lot of these concerns would have bothered me less than they did in this context. However because the DC hype machine has been promoting this book 7 ways to Sunday, I entered into it with a good deal of knowledge of the direction of the story and the twists thrown the readers' way in this first issue. This Event Series still shows a lot of promise, and I am optimistic that things will look up next issue now that much of the groundwork has been laid.

Grade: B+

Birds of Prey #12
Producer: DC
Writer: Gail Simone
Artist: Jesus Saiz

Now that's more like it. Ever since Gail Simone returned to relaunch the title on which she had a career defining run several years ago, something has been…missing. This should have been an easy hit for DC, instead, it felt like something just wasn't clicking. There were a lot of great moments, and huge potential, but issue after issue that potential remained unreached. Maybe it was the merry-go-round of artists (7 artists in 11 issues). Or maybe it was the multiple status quo shifts and reveals that were never really fully explained before moving onto the next big idea.

All that changes with this issue. This is the book I was hoping for. This is the book I wanted to be reading. The renowned fun and personal chemistry between her cast of characters that Simone was known for on this title is in full effect. We get some fun interplay between Canary, Dove, and Oracle, a great team up between Huntress and the Question, and a laugh out loud moment featuring Hawk. The issue ends with a genuinely creepy twist that longtime fans of Simone will appreciate as being particularly deadly for our protagonists.

The new story arc and return to basics approach on Simone's side is only part of the reason why this issue was leaps and bounds ahead of it's 11 predecessors. The lion's share of the credit needs to go to artist Jesus Saiz for finally giving this series the proper tone, polish, and consistency that this title so badly needed. I love Saiz's thick line work and shading. At an average of about five panels per page, Saiz packs a lot of story into this issue, but his excellent handle on choreography keeps the action from becoming confusing or cluttered. His characters are sexy (without cheesecake factor), and expressive which is exactly what this book needs. I hope that Saiz is onboard for the long haul because he and Simone really clicked this issue, and I can't wait to see what they do next.

Grade: A-


Avengers #13
Publisher: Marvel
Writer: Brian Bendis
Artist: Chris Bachalo
Event Watch: Fear Itself Tie In


So Bendis has been utilizing this oral history of the Avengers prose feature to pad the books to justify the 3.99 price raise, and while I have little interest in reading Bendis's take on the classic Avengers stories of yesteryear, I applaud him trying to give the readers extra bang for their buck. He employs the same technique for this issue, but instead of prose blurbs, we get confessional style panel packed pages, interspersed with some expanded scenes from Fear Itself #1. The confessional technique actually works really well here, as it heightens the sense of anxiety and tension, as the characters are giving confessional interview both pre and post the events of Fear Itself, alluding to tragedy we are yet to see.

Bendis contrasts these scenes with a budding romance between two Avengers. And while he handles some aspects of developing attraction well, other scenes come off as being a bit juvenile. The exchange between Spider-Woman and Ms. Marvel in particular sounded like the dialogue of Jr. High School girls, rather than two ex-military super heroines.

Bachalo handles the art chores exceptionally well on this issue. His style is infamously stylized and exaggerated and not what you would normally associate with the Avengers, however I think one of the best things Bendis has done during his tenure in the Avengers franchise is bring in artists not normally associated with the characters. I for one would be happy to see Bachalo take the reigns of an Avengers book, as it is hard to deny that his characters are larger than life, and I simply love his renditions of Thor, Red Hulk, Hawkeye, and Spider-Woman.

Grade: B+

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