Even with all the Halloween-related work I had going on this season — which included healthy doses of Warren’s Eerie comics and Marvel scare books — I still had some time to read a few other things leading up to the big day. I’ll hit these up in a quick hits fashion, but still wanted to call out a few fun aspects of each book. Continue reading Halloween Scene: The Trade Pile
Green Arrow: Year One (DC)
Written by Andy Diggle, drawn by Jock
Collects Green Arrow: Year One 1-6
Earlier this month, after watching that week’s episode of Arrow, I finally got off my butt and decided to give Andy Diggle and Jock’s Green Arrow: Year One trade a re-read. The fact that tonight marks the second season finale made today the perfect day to write about three different Green Arrow comics I read and enjoyed lately.
I got on the GA train back when Kevin Smith restarted the book in 2001. I was onboard throughout Brad Meltzer’s run and Judd Winick’s, but after the latter left, I thought it lost most of what made the book special. I even gave the first volume of the New 52 incarnation a read, but was pretty disappointed.
In 2007, DC tried to make Year One a thing by doing minis starring Green Arrow, Metamorpho, the Teen Titans and Black Lightning. For the most part, they weren’t particularly interesting, but Green Arrow had the one that not only sticks out as being pretty rad, but also works as a bit of source material for The CW show. The series really gets into what turned Oliver Queen from careless billionaire playboy into avenging arrow-slinger.
In Diggle’s re-telling of the origin, Queen essentially forces his way onto the boat that inadvertently puts him on the island. This time, though, it’s betrayal that directly leads to his life changing ordeal. A bow and arrow enthusiast thanks to knowing Howard Hill the stuntman who did the trick shots in Errol Flynn’s The Adventures Of Robin Hood (an element found in all three of these books), Ollie creates a make shift arsenal that he uses to hunt and keep himself alive long enough to discover that the island he’s on is also the major source of poppies for heroin dealers lead by China White.
The great thing about this mini is that it not only shows how Ollie grew into the physical character who could run around a city shooting arrows at bad guys, but also the mental transformation he had to go through because the former doesn’t necessarily correlate with the latter. Ollie sees that human kindness can exist even in a hellhole where natives are enslaved and tortured which goes a long way to turn him from a self obsessed rich kid into an empathetic hero whose eyes are now open to the horrors of the world he previously didn’t see or ignored. Jock’s able to convey all of this as well as the more action packed scenes with his very specific style in a setting that allows him to draw scenes in broad daylight which really show off his skills.
After reading Year One, I started going through some of the longboxes I’ve got sitting in our closet in an effort to make space, read some books that have been sitting around for a long time and generally clean up. While doing that, I came across the huge number of pre-Kevin Smith Green Arrow comics I started collecting back in college. At that point, I started just buying up back issue lots on ebay so I’ve got a lot of random stuff including this Mike Grell-written, Gray Morrow-drawn miniseries called The Wonder Year. In fact it was Morrow’s name that made me want to read this right away because I just discovered his amazing art in the pages of the first Creepy collection and was blown away.
Chronologically speaking, this 1993 mini takes place right after Ollie got back from the island. It’s funny, in this version, Grell made the island a place for pot farmers, a note that Diggle obviously took, morphed and ran with in Year One. Anyway, we get to see Ollie stopping bad guys while wearing a Robin Hood costume, hating the name Green Arrow as bestowed upon him by the press and scoring that first, real GA costume.
But the real thrust of the story here is a more personal one for Ollie as he comes to discover that an old college girlfriend of his has popped back into his life with some mysterious political affiliations that turn out to be a lot more nefarious than expected. In these issues, Grell paints young Ollie as a more politically oriented and complicated character than he was in something like Year One, going so far as to get into level-headed economic discussions with his hippy pals.
When I first read these issues, I wasn’t super impressed, but after thinking about them for a while, I actually like the book a lot more. For one thing, it’s great reading a Green Arrow book without many of the aspects that became common place later on like his extended hero family (Connor, Roy, Mia, etc.) or even Black Canary. Also, for longtime Green Arrow and Ollie fans, it’s interesting to see this older romantic relationship for our hero, especially how it ended the first time and more dramatically at the very end. It’s not necessarily the kind of book that will be referenced much, but it does reveal one of the many bricks in Ollie’s wall that got put up between himself and womankind for so long.
As far as Morrow’s art goes, it’s very hit or miss in these issues. You do get to see some of that amazing shading, page composition and collage skills on display in the pages of Creepy. But, other times, the figures look very weak or half-baked and occasionally, it’s not easy to figure out what’s going on. Still, I give all that a pass because we’re talking about 30 years between Creepy and Green Arrow: The Wonder Year.
Green Arrow: The Longbow Hunters (DC)
Written & drawn by Mike Grell
Collects Green Arrow: The Longbow Hunters #1-3
Before Mike Grell launched what is still the longest running Green Arrow book of all time, he laid down the basics of his take in a three issue prestige format miniseries called The Longbow Hunters. This 1987 story took a character previously associated with big time superheroes in the Justice League and put him squarely in the real world city of Seattle, a corner of the DCU that ignored the big guns like Superman, Wonder Woman and Green Lantern in favor of focusing on more street level, human dramas. Ollie wasn’t alone in this descent into more seemingly mundane madness, though, he did have Dinah “Black Canary” Lance along for the ride as the two moved in together above Sherwood Florist, the best possible name for a flower shop in the history of clever flower shop names.
But, this isn’t the story of two people settling down to a simple life of vigilantism. Instead, Ollie tries to track down someone who’s using his archery MO to kill people while Dinah investigates a drug ring. The two wind up connected and Oliver must team up with the murderer known as Shado to save Dinah and also bring the bad guys to justice while dealing with some incredibly tough moral questions about the superhero code.
I feel like I should note that, up until this time, Green Arrow not only never had his own ongoing, but wasn’t much of a character. Denny O’Neil laid a lot of the Ollie groundwork in “Hard Traveling Heroes,” comics I’ve never been able to get through because not only are they well-mined by those who came after, but also pretty heavy handed. Grell took those ideas and ran with them, adding plenty of new layers as he went. If you want to get an idea of those early days, check out Showcase Presents: Green Arrow, Vol. 1 or The Jack Kirby Omnibus Vol. 1: Starring Green Arrow to see what I mean.
Anyway, I’m a big fan of this story which, along with enjoying the then-current run on the book, lead me to start collecting the issues from this volume which eventually lead to Ollie’s death and his son Connor taking over. You hear a lot about the 80s being too dark, grim and gritty in the wake of Watchmen and Dark Knight Returns, but I think there were a lot of quality comics being put out at that time that might have dealt with more real world issues and been darker in tone, but didn’t wallow in it. In this case, Green Arrow still shines as the hero even as terrible things are going on around him.
I absolutely love Grell’s art in this book. It’s beautiful, like paintings composed in pencil, sometimes on paper that looks rough, almost like brown grocery bags. He really took advantage of not only the nicer paper quality of these prestige format books, but also the freedom to break away from the traditional grid system to do something unique. My only complaint about the composition is that, occasionally, they can be difficult to read when he goes into double page layouts where you’re supposed to read the panels straight across the spread. After reading comics for a while, I’ve realized the best way to do this is to make sure that a panel from the right hand page starts on the left hand page, so the eye naturally carries over. In many cases in this book, the second page of the spread starts in the gutter or on the second page, so your eyes go down instead of over which can be problematic. Because of all that, I don’t know if I’d recommend this book to a new comic reader or someone who wants to check out some GA comics because they like Arrow. I mean, I’ve been reading comics for 22 years and I was confused.
Even so, it’s not a terrible thing to work a little to properly enjoy a great story like this one. If you’re at all interested in the history of Green Arrow as a character this is a pretty important piece to absorb at some point, but maybe give the collection Grell’s first six issues on the book (aka Green Arrow Vol. 1: Hunters Moon that came out in 1988 to see if it’s something you’d dig. For me, it’s all thumbs up and aces. Now I want to finish up my GA collection, but also want to get my hands on the trades I’m missing from the next volume.
PS – I’m trying something a little new lately by throwing in links to Amazon pages for the books and movies I review. If you’re interested in getting your own copies of these trades, just click on the main title next to the image and that’ll take you to Amazon. If you do buy it, I get a little cut and it doesn’t cost you anything extra.
After reading the first three volumes of Scott Snyder’s Batman, I’m firmly and solidly hooked. I can’t wait to see where that story goes as it makes its way to trade over time and even more slowly finds its way into my collection. But, while waiting, I figured it would make sense to go back and read the writer’s first attempt at playing in Gotham. Snyder wrote the main feature and back-ups of Detective Comics leading up to New 52. This story features Dick Grayson as Batman, but takes place after Bruce came back in The Return Of Bruce Wayne.
There’s a lot going on in this book which finds art chores split between Jock and Francavilla. You’ve got Dick investigating a long-running black market auction for evil objects held in places where terrible things happened as well as the ongoing mystery of exactly who or what Commissioner Gordon’s son James is. All of that is mixed with what’s considered more “comic booky” elements like massive sea animals and a car-filled deathtrap. The two artists have wildly different styles, but they both fit the story so well from Jock’s chaotic lines to Francavilla’s more solid, thick-lined take. Sometimes when artists change in a book like this it can be super distracting, but in each case, they seem perfectly suited for the twists and turns Snyder threw at them and us.
I absolutely loved going on this journey. For me, it’s got a lot of connections to Year One, which I read for the first time in years recently. The thing that struck me about Year One when I gave it a re-read was how much of a Jim Gordon story it is. He’s really the main character and I’d say that’s the case with the majority of these issues as well. I don’t know how he did it or if I’m just pre-disposed to get on Gordon’s side, but I was completely taken and absorbed with the story revolving around his son. I gasped while reading a few times and got uncomfortable at others. It took me several weeks to read this book the first time for various reasons, but I’m hoping the next time I crack it open, I’ll be able to take it in in a much shorter period of time because it really feels like a complete epic that utilizes the history of Batman while also blazing new trials in a similar way that Geoff Johns did with books like JSA, Flash and Green Lantern.
The Joker: The Clown Prince Of Crime (DC)
Written by Denis O’Neil, Elliot S! Maggin & Martin Pasko, drawn by Irv Novick, Dick Giordano, Jose Louis Garcia-Lopez, Ernie Chen, Vince Colletta, Tex Blaisdell & Frank McLaughlin
Collects Joker #1-9
I’d love to say that I chose to read this collection of the Joker’s solo comic from the 70s for deep thematic reasons like the fact that it’s another Bat-book that Bruce Wayne has nothing to do with, but in reality, I just wanted to give it a read. I appreciate that DC’s still reprinting these older tales even though they’re pretty much negated everything about them thanks to the New 52.
These issues debuted between 1975 and 1976 and feature the Clown Prince of Crime going on a variety of adventures that either feature his fellow Rogues Gallery members like Two-Face or Scarecrow or pit him against heroes like Creeper or Green Arrow. There are some attempts to connect these stories like the continued appearance of henchmen Tooth and Southpaw as well as repeated appearances by Benny and Marvin, a pair of former Arkham Guards who repeatedly run into Joker. But, for the most part, this is a monster/her/team-up/crime of the issue type of comic thanks to the mix of writers and artists on board each issue.
Tone-wise, this is an interesting book. When it was coming out you had the more realistic take on the Caped Crusader going on thanks to Denny O’Neil, Neal Adams and company. This book reflects some of that, especially in the art style,as we see Joker murdering a few people here and there, but also carries a comedic tone that presents itself in many ways. Heck, Joker gets out of Arkham with a giant balloon in the first issue and goes on to build a secret base under his cell in the asylum so he can commit crimes more easily. There’s a whole issue where Lex Luthor and Joker accidentally switch personalities and an incredibly complicated way of doing a modern-day Sherlock Holmes story that feels like the kind of longform joke Andy Kaufman would try to pull off, so there’s still plenty of humor.
I do have to say one thing that got under my skin while reading this book was the fact that they referred to Joker’s hideout as the Ha-Hacienda, which is a funny idea, but it should be the Ha-Ha-Hacienda, right? Aside from that, I had a lot of fun reading through this book. I don’t always go in for comics from this era because they’re not super well regarded or original, but this hit a lot of my buttons, including the huge Creeper one hiding in the depths of my comic-loving brain.
When it comes to limited-run posters, Mondo’s one of the biggest names in the game. The reason why? They get some incredibly talented artists to create images based on some of the greatest movies of all time. Tomorrow, they’ve got another trio of offerings that will surely fly off the virtual shelves.
As detailed over on their blog, quick clickers with disposable income will have the chance to purchase a Predator poster by Ash Thorp, Ridley Scott’s Prometheus by JC Richard and Jock’s interpretation of John Carpenter’s The Thing.
As per usual, the best way to keep up on when the posters go on sale, follow @MondoNews on Twitter.
I’m a gigantic fan of Preacher (see my posts on the subject here, here and here) so I jumped at the chance to read one of their earlier team-ups on Hellblazer from the early 90s. I was also curious to read some of the earlier adventures of John Constantine because, as I’ve said before, I’m interested in the character’s printed history. He’s one of those guys who have been around a long time and always seems to be meeting up with old friends and acquaintances, but if you’re a new reader you don’t know if they were actually in the book or not. This books if fun because, while I can’t remember all the people I was curious about when reading other Hellblazer trades, this one features a lot of Constantine’s friends (many of them former these days, I would guess).
The collection features six issues, the first two and last are one-offs for the most part with the middle three consisting of a full story. In the first, John tracks down a guy selling dark magic stuff to his niece. I didn’t even realize he had a niece or a sister, so that was interesting. The next was my favorite as it found our hero celebrating his fortieth birthday with a lot of the friends I mentioned before. The three-issue arc splits its efforts between following a fallen angel dealing with living on earth and his ousting from heaven while Constantine runs afoul of an evil government group working on some shenanigans. The last one deals with Constantine’s girlfriend leaving him after the events of the previous issues.
While this trade doesn’t really act as a Rosetta stone for the character and any of the questions I might have had about him and his past, it was interesting reading these experiences he had that helped create the mean, sour bastard that’s still kicking around these days. Plus, I am always down for looking at Steve Dillon art, even if he’s not quite as crisp in this as he would become.
I was also excited when I saw this book written by Jamie Delano who wrote Constantine’s earliest adventures in his solo book. I’ve read a collection or two of his issues and was struck by how literary they were (see my brief review for Fear Machine). A lot of times, if I see too many words on the page, I get tired and don’t feel like reading, but when Delano does that, it winds up being really interesting and, well, literary. I’m not saying Hellblazer comics are up there with Dickens or anything, but you get the feeling that he has some measure of respect for comics to use language that might have been considered too smart for the medium.
Delano does the same with this graphic novel that came out in 2009. I was still impressed with his writing style and how engaging it was, but also how well told this tale was. It hit some notes that I’d seen before, but not in a Hellblazer comic before. He basically gets blackmailed into working for the British government to go check out a demon they have sedated in a prison camp in the Middle East as part of the joint actions by the UK and the US in that area. He’s teamed up with a mysterious woman and we see how the story unfolds with a good deal of deserved twists and turns along the way.
Really making the whole package a lot more fun and interesting for me was the artwork by Jock. That dude really has a rad style that works perfectly in the realm of Hellblazer. For all those reasons — and the fact that this really did feel like a long form comic instead of a collection of issues thanks to it’s pace — I really enjoyed this book and will be keeping it in my collection.
As a kind of post script to this reading experience, I want to talk a bit about trade collecting for just a second. Hellblazer is a book with hundreds of issues and I’ve read a handful of the trades and never in order. As such, I’m curious about reading parts from all times in the character’s history and have bounced back and forth between the idea of keeping the books and getting rid of them. At this point, I’ve Swapped a LOT of them away and probably only have four or five in hand anymore. I wonder if getting them all and then reading them in order would add to the reading experience or if this is such an intense book that it’s better to put it in your brain once and not come back to it. At this point, I think I’ll hold on to the trades for now and try to get the ones I haven’t yet read, but that might all change again. Who knows. I’m flip floppy that way, I guess.
Man, I had a great time watching The Losers tonight. As I said a while back, I was really looking forward to this movie along with The A-Team and The Expendables, one of which I haven’t seen yet and the other I loved. All three movies are action movies with tough badasses up against a tough mission, with Losers and A-Team both being about a team that was set up and attempting to clean up their good names. The Losers is a military team consisting of dudes with cool nicknames like Clay (Henry Dean Morgan), Roque (Idris Elba), Cougar (Oscar Jaenada), Jensen (Chris Evans) and Pooch (Columbus Short) who get burned by a guy named Max and set out to get revenge on him, later adding bad ass chicj Aisha (Zoe Saldana) to their little gang. First off, this cast is pretty rad. I haven’t seen Elba in The Wire but did enjoy him on The Office, plus the movie stars the Comedian from Watchmen, the blue chick from Avatar, one of my favorite characters from Studio 60 and the Human Torch. Fun stuff.
More fun, of course, is the flick, which doesn’t seem to go more than 10 minutes before getting into another rad action scene. The movie’s pretty easy to follow, though it does get a little wild with a weapon that seems to disintegrate islands, though I was glad they didn’t go with the regular old MacGuffin and actually showed the weapon of mass destruction in action. Other than that you’ve got the usual amount of ass kicking and plot twisting. I guess it’s a little by the numbers as far as the plot goes, but there’s enough other stuff going on that I didn’t really notice until looking back on it now.
The action scenes are top notch. There’s one earlier in the film with Aisha facing off against Clay that involves trashing a hotel room that catches on fire. It was such a visual fight without getting too wrapped up in the jerky fight scenes we’ve been assaulted with lately. Sure there’s speed-up then slow-down moments, but they seemed to serve the fight to my eyes. In fact, I was doing some writing while the movie was playing, but every time an action scene kicked off, I was drawn away from the computer and couldn’t take my eyes off the TV. The movie’s bright color palette in general helped with this as well, especially with scenes like the one with Cougar and Jensen working in a doll factory.
I also really dug the characters who all felt well acted and well rounded without having too much bogging them down. You get a good enough sense of who each one is thanks to the role they fill on the team and what we see here and there throughout the movie. Evans and Morgan really shined for me with the former’s humor and the latter’s general bad assness. Evans as the torch was one of the few bright spots in the otherwise boring Fantastic Four movies and I had only seen Morgan in the shark jumping episodes of Grey’s Anatomy and his role as the Comedian, so it was nice to see him get some more screentime and flex those cool muscles instead of getting murdered either by his girlfriend or Ozymandias.
My only real problem with the movie was the character of Max (Jason Patric) who was just a bit over the top for my tastes. He makes lots of lame jokes and changes his mind about huge plans all the time. I get wanting to add a layer to the character, but I started questioning how a man this flighty could run an organization big enough to mess with the Losers, which kind of breaks up the foundation of the movie a little. Not a good move. There’s also a bit at the end that will be considered a SPOILER. In a rad moment, Max throws a pressure switch off a high point where he and Clay are having a standoff. Clay dives into the water, grabbing the device in just enough time, but when he gets out of the water, the rest of the gang roll up in a yellow stretch Hummer limo. But I don’t understand why Cougar, the sharp shooter of the bunch, wasn’t still at his post to take Max out. Or any of the other guys on the team. It’s a little weird, but not a bad enough moment to completely kill the movie for me.
All in all, I had a great time with this movie, which is good because I really didn’t like one of the other two flicks I watched today. It can’t be ignored that The Losers is based on a comic book of the same name by Andy Diggle and Jock. The only reason I hadn’t mentioned it before is because I haven’t read them, though after watching the movie, I want to now and will probably start tracking them down on Sequential Swap.