Back when I started working for CBR, I covered Image Comics. It was a wild time when new creators were rolling in and producing these great creator-owned books. A lot of them have gone on to work at Marvel where I now interview them for that company’s website. I’ve since switched beats and now cover BOOM! Studios and IDW so I’ve lost touch with some of the books that everyone’s talking about and digging like Wayward and Descender. Continue reading Image Trade Post: Wayward & Descender
Every few weeks I find myself requesting any number of trades from the local library system. They come in in spurts and I get to them as I can. I can’t think of much in the way of connections between Harrow County Volume 1, First Wave and Black Widow: The Finely Woven Thread, but I enjoyed them all, so there’s that, I guess!
Harrow County is a witchy horror comic by Cullen Bunn and Tyler Crook from Dark Horse. This first book — officially titled Harrow County Volume 1: Countless Haints — compiles the first four issues of the series which follows Emmy, a young woman who comes to realize that her fellow country denizens might want to murder her for being the reincarnation of a witch they killed about 18 years ago.
Packed with characters I want to learn more about, a slowly unfolding mythology and some amazingly creepy art by Crook (whose style reminds me a bit of Jeff Lemire’s, but with a more comic strip shape if that makes sense) I’m definitely hooked and want to find out what else happens to Emmy, her dad and the unusual creatures she’s come into contact with. In a way, it reminds me of a smaller-in-scope Hellboy with a young woman protagonist which adds a new, interesting angle that I’m sold on. Time to see if the second volume is available at the library!
Back in my Wizard days, DC seemed to be snatching up random characters or rebooting old imprints and trying to incorporate them into the DCU with little success. They brought back Milestone and Tangent and also tried to bring the THUNDER Agents into the fold. I actually preferred what they did with First Wave, which mixed classic pulp-inspired characters like Doc Savage, The Spirit and Justice Inc. with non-powered DC folks like Batman and the Blackhawks into a new universe. Things kicked off with the Batman/Doc Savage Special by Brian Azzarello and Phil Noto and then moved into the six issue series called First Wave by Azzarello and Rags Morales.
I wasn’t very familiar with Doc or Spirit the first time I read these issues, but have read a few things since then. I think Azz does a great job of bringing in all these different characters and not only keeping them clear, but also giving them business that works for them. I had a little trouble keeping track of all the balls in the air towards the end, but I still enjoyed the pulp-y quality to the tale which was enhanced by Rags’ art which always excels at capturing facial expressions while also drafting solid action scenes. Reading this made me want to dig up the issues of the Doc Savage and Spirit series’ that launched out of this as well as the Batman/Spirit one-shot by Jeph Loeb, Darwyn Cooke and J. Bone which I remember being a lot of fun.
Finally, let’s wrap things up with Black Widow Volume 1: The Finely Woven Thread by Nathan Edmondson and Phil Noto. THis is the rare comic that I picked up just to check out the artwork. I like Edmondson and have interviewed him a number of times for Marvel.com and also dig Black Widow as a character, but you just don’t get enough Noto-drawn comics! I mostly see his stuff online and on covers, so getting to really dive into a book that plays to his strong suits — beautiful but dangerous women, great action — was a lot of fun and a treat for the eyes. I especially like how he outlines various elements in a spidery red that draws the eye from object to object.
Story-wise this book focuses on Black Widow’s desire to make amends for the bad things she did in her past by taking on various jobs around the world and using that money to support her victims’ families as well as a web of support around the world. The one-and-dones are a nice change of pace, but I admit to having trouble reconciling an international killer who is also a member in good standing with the Avengers. Then again, that’s probably just be getting too much in my own shared universe-loving head!
Superman: Dark Knight Over Metropolis (DC)
Written by John Byrne, Dan Jurgens, Roger Stern & Jerry Ordway, drawn by Art Adams, Jurgens, Brett Breeding, Bob McLeod & Ordway
Collects Action Comics Annual #1, Action Comics #653-654, Adventures of Superman #466-467 & Superman #44
While Hal Jordan might not have been my early bread and butter as a comic reader, Superman and Batman definitely were. I love both heroes, so seeing them team-up in this interesting period (1990) where they didn’t really trust each other and definitely weren’t friends was a trip, especially because I came around later and saw them team up in JLA.
The first comic in this series is a classic that brings both heroes together. It’s written by John Byrne with art by the crazy-awesome Art Adams, but I’ve read it a handful of times and the surprise is a bit gone so I skipped it (well, I flipped through it cause, daaaaaag, it’s pretty). The rest of the book builds off of the title three part story, but kicks off two issues before that to add context. Part of that context involves seeing the origin of Hank Hall, the man who would become Cyborg Superman, one of the most important characters of my childhood!
The actual “Dark Knight Over Metropolis” story had been built up to for a while in the Superman comics because a woman who worked for Lex Luthor stole his Kryponite ring and also figured out who Superman truly was (but Lex didn’t believe her and ruined her life). She gets murdered, the ring gets stolen and winds up in Gotham where Batman gets clued into it. The work the case in and out of costume and eventually, Superman entrusts Batman with the Kryptonite ring (another iconic moment that I always heard about when I started reading a few years later, but didn’t actually read until this point).
This book is steeped pretty heavily in the world of Superman books of this era, much of which is covered in the Man Of Steel trades (which I, of course, adore). I don’t know how easy it would be for a new reader to just jump right in and read these issues, BUT I’m guessing that the dynamic between Batman and Superman in this comic is a lot closer to what’s going on in Batman v Superman: Dawn Of Justice than the Super Friends we later came to know and love.
Of the three books in this post, Darkseid vs Galactus: The Hunger is actually the one I read as a kid. The mid 90s were actually a really great time to see characters from Marvel and DC crossover, first with the DC Vs Marvel series and then the All Access books and one-offs like this one. At the time, I knew the basics of Galactus and the Fantastic Four and probably knew a bit about Darkseid, Apokolips and the New Gods, but zero clue that these were all Jack Kirby creations coming together.
Though over-written in the grand tradition of both Kirby and Byrne, this super-fun book finds the World Devourer trying to turn Apokolips into his latest snack thanks to Silver Surfer discovering the world of awfulness and sorrow.
There’s a twist at the end of this book that blew me away as a kid and stuck with me ever since. In fact, it was the ONLY thing I remembered about this book that I first read 21 years ago. Again, it’s both reflective of Kirby’s work as well as Byrne’s writing of the mid 90s, so I’m not sure how accessible it is, but if you have even the remotest interest in Kirby’s worlds and always wondered what would happen if they collided, track this book down!
Right off the bat, I’ll admit that I did not actually watch Avengers: Age Of Ultron and Ant-Man as a true double feature. We probably watched the latter a month ago and just peeped the former yesterday. But, since I didn’t write about the Avengers sequel, it seemed liked a proper time.
I went into Joss Whedon’s Ultron with fairly low expectations. It seemed like a lot of the people I follow on Twitter and actually communicate with weren’t super into it. The general feeling I was picking up on seemed to be that, while it’s got all kinds of spectacle, it didn’t live up to the original.
And that was my experience as well, but then again, this is a different kind of blockbuster super hero movie. The original — which I love — seemed custom built to show that all of these series-leading, mega stars could come together, fight the bad guys and look good doing it. Meanwhile, this film seemed built with a different goal in mind: showing how said group (plus new members) can work together even when times are tough.
It’s also clearly a bigger piece of the Marvel Cinematic Universe puzzle leading up to Captain America: Civil War and the Infinity War movies. To me as a viewer, the first felt like it was worked into the bigger tale while this one was more obviously built to lead to something else. This is something I’m not usually a fan of in comics and even less so in comic films and it all just boils down to a feeling I get while watching.
And yet, I still found myself enjoying this darker take on team superheroics. Quicksilver, Scarlet Witch and Vision all make interesting additions to not just the team, but the universe at large. Plus, it’s not all dark. I could watch an entire TV series about the Avengers hanging out like they did at that party. I also just adore James Spader (as I mentioned here) so watching and listening to his take on the killer robot Ultron was a treat as he’s basically Blacklist‘s Raymond Reddington but crazy and a robot.
I think that the problem with this movie as related to the first one comes down to this fact: I don’t want to rewatch it a bunch. I probably could have sat through another showing of Whedon’s first Avengers film right after the first one and even stop flipping or pop in for a few minutes every time I see it on TV. I don’t see that happening here. In other words, it’s not nearly as fun as the first one, which it clearly wasn’t supposed to be, but it’s still a bummer.
Ant-Man is far from a bummer, though, which is great. I admit, my feelings towards these movies have been a bit tainted by elements from beyond the movies themselves. I’m not sure how I feel about every single film moving forward painting towards this gigantic epic that will end Phase Three. I love the inter-connectivity between these films, but that doesn’t necessarily mean I want them all to be about this one big thing leading forward.
And then I watched Ant-Man and it felt like a nice step away from all that intergalactic craziness to just tell the story of a few people trying their best to not make the world a worse place. I love the approach of using this intelligent thief to wear a potentially fatal suit in an attempt to stop tech from ruining the world. It’s perfectly comic book-y, but also fits in so well with this universe and Paul Rudd just kills it. I also really enjoyed watching Michael Douglas who seemed to break the rule that every old dude in a Marvel Studios movie turns out to be bad. Oh, and how fun is Michael Pena? And how bad ass is Lilly? More of both of them please! Basically, everything came together to give me a beautiful mix of heist and hero that gets a major thumbs up from this guy.
However, all respect to director Peyton Reed who did a great job, but I still wish we would have been able to see Edgar Wright’s version of this film which we reported on all the way back in the days of Wizard and ToyFare. Yes I bet it would have been an amazing movie, but it more so bums me out that a relatively slow filmmaker like Wright spent ALL that time on a movie that just didn’t happen. He’s got such an amazing vision for what he makes that I want him to make all the movies he can and this felt like a major entanglement that resulted in a great vision for Ant-Man, but not a full-on Edgar Wright movie.
And, yes, I still remain a bit nervous about Marvel tying up too many of their films to Infinity War, but then I must remind myself that Guardians Of The Galaxy did a great job of incorporating some of that into its movie and this one basically skips over all of that. Back to what I was saying above, it feels like Ant-Man is its own thing that will get incorporated into the larger goings-on of the MCU instead of the other way around. I like that and as long as that’s the way these things go, I’ll keep enjoying them.
Superman: Secret Origin (DC)
Written by Geoff Johns, drawn by Gary Frank
Collects Superman: Secret Origin #1-6
When I started reading Superman comics, the character was about six years out from his post-Crisis reboot which de-powered him a bit and made a conscientious effort to make him the last Kryptonian (hence a clone Superboy and extra-dimensional shape-shifting Supergirl). Another major tenet of those days was that Superman because Superman as an adult. This was the Superman I knew, though I also understood that the Golden and Silver Age were jam packed with elements that didn’t fit into that rubric. I try my best to keep an open mind for Superman stories that don’t fit into that mold, but sometimes they throw me for a loop. Luckily, I didn’t have that problem with Geoff Johns’ retelling of the Man of Steel’s life in Secret Origin.
Johns worked with the amazing Gary Frank on this miniseries after they teamed up on Action Comics a few times. Essentially, this is the definitive origin story for the post-Infinite Crisis DCU which has since gone the way of those aforementioned older ages. Still, there’s plenty of Superman-fueled goodness in here for people to dig into.
The first issue is set in Clark’s earlier days when his parents reveal his alien origins to him. He’s mad about the whole thing, but still uses his abilities to help people when he can. We also find that Lex Luthor grew up in Smallville too and even encountered Clark. My favorite part? Young Clark doesn’t like the Superboy costume his mom made him, which makes perfect sense when you think of a modern teenager running around with his underwear on the outside. In the next issue, Clark heads to the future to hang out with the Legion. I wish Frank could draw a thousand issues of Legion comics, I really do, he’s perfect for them.
The last four issues follow Clark as he gets to Metropolis and working at the Daily Planet while also revealing himself to be a hero. One of the interesting things that Johns does in this book is take some of the classic elements and making them make sense in more modern times. The costume thing is part of that, but so is the fact that the Daily Planet is still a paper that exists (instead of all the ones that have closed down in the past decade). For my money, that’s one of Johns’ strongest talents, integrating old craziness and making it work even in a world where aliens come to Earth and save the day all the time. I even like what he did with Metallo and Parasite, though I’m not a fan of the former’s design this time around (you can’t like everything, right?).
So, no, this isn’t MY Superman (everyone has their own) but it still tells a great Superman story that’s not unrecognizable. One of the problems I’ve had trying to read the New 52 Superman books is that he just doesn’t seem like Superman to me. This is still on point and fits in with what I like about the character: he’s the ultimate orphan who still wants to fight for his larger family, humanity.
Superman: Secret Identity (DC)
Written by Kurt Busiek, drawn by Stuart Immonen
Collects Superman: Secret Identity #1-4
Superman: Secret Identity is one of those books that everyone loves and I just never got around to reading. I actually have the last three issues in a box out in the garage, but wasn’t going to fully skip the first issue. Luckily, the library had a copy, so I dove in right after Secret Origins.
This story by Kurt Busiek and Stuart Immonen is actually about a person named Clark Kent who’s in a version of our world. His parents named him that as a joke because everyone knows about the comic book and pop culture icon. But, after a mysterious meteor hits nearby, Clark gets Superman-like powers and starts experiencing some of the fictional hero’s ups and downs.
In a way, this book reminds me of Paul Cornell’s Action Comics story “The Black Ring” in that you find yourself learning about Superman by comparing him to the character you find yourself reading. This version of Clark follows some of the fictional version’s path, but he also finds himself living in a simpler world than the one in the comics, but still one filled with a certain amount of danger for him and his eventual family. He also deals with concepts like secret identities in ways that feel more realistic than some of the ways they are dealt with in ongoing comic book series’ that not only try to keep things interesting year in and year out, but also come from a variety of different minds and voices.
As it is, Secret Identity is a wonderful take on Superman from two very distinct, but complimentary voices in Busiek and Immonen. I was familiar with the artist’s work on books like Adventures Of Superman, but here he keeps his figures smaller and more realistic, while playing more with darkness and shadows than I remember him doing in the the mainstream superhero work. Together he and Busiek nail that real-person-dealing-with-the-unreal idea that the writer has become famous for in his comic book career.
Several years back I was in the enviable position of being on Shout Factory’s PR list thanks to working at ToyFare. Because of that, I got a lot of interesting DVD sets, some of which I haven’t even watched yet. The Giant Robot Action Pack featuring Robot Wars and Crash and Burn is one such selection that I decided to finally watch over the weekend and I was surprised at the results.
I’ve actually tried to watch Robot Wars — directed by Albert Band and released in 1993 — a few times, but never really made it through for various reasons. This time, I was set to watch the film and actually succeeded. A kind of sequel to Stuart Gordon’s Robot Jox — which is also getting the Shout Factory treatment — this movie takes place in a future world where one scorpion-like robot carries people from a protected city to one that was abandoned and preserved in 1993. After terrorists take over the robot, it’s up to our brash hero, his co-pilot, a reporter and an archaeologist to find another robot and save the day.
Though the title is pretty misleading — two robots fighting does not a war make — I had a lot of fun with this film. The stop motion on the robots looks better to my eye than the bad CGI that would be used today and the characters, while broad and oftentimes goofy, are charming and fun to watch (it wasn’t until this latest viewing that I realized the reporter is actually Lisa Rinna in an early role).
While this is far from the best giant robot movie I’ve ever seen, I appreciate that everyone involved seemed to be doing their best and trying to create something fun and interesting. Full Moon would sometimes swipe heavily from other projects, but this felt pretty original to me. That might not sound like the most thrilling endorsement, but it went pretty far for a low budget 90s sci-fi action film. It helps that my experience with huge robots doesn’t extend much past loving Transformers as a kid and loving Pacific Rim.
The other film on the set — Crash And Burn — is another kinda-sorta-not-really sequel to Robot Jox (they were marketed as such overseas, but share nothing in the way of continuity). This one actually really surprised me because it was such a mix of genres and movies that I love.
It starts off with a guy on a futuristic motorcycle traveling through the desert to visit a factory-turned-TV studio run by a rebellious old man who rails against the corporation that runs everything (and also employs the motorcycle driver). Once there, we meet an eclectic cast of characters that includes Bill Moseley, the old man’s granddaughter played by Dark Skies‘ Megan Ward, blowhard talk show host and a pair of women who…are there for some reason. Soon, an important character is murdered and the search is on to find out what happened. It just so happens to involve killer (human sized) robots and a huge robot outside that doesn’t work (BUT IT WILL!).
So, with this one movie you’ve got the seclusion of the desert with the post-apocalyptic nuclear wasteland-type set up mixed with the group-of-stranded-strangers motif (because there’s a radiation storm of some kind) plus the whodunnit mystery (though it’s pretty clear who the killer is if you pay attention to footwear), the someone-isn’t-who-they-seem thing AND THE ROBOTS.
Let’s jump into SPOILER TERRITORY for this graph because I don’t want to ruin an old movie I do actually want you to check out. I tried to paint with broad strokes above, but here’s the deal. If you happen to notice the murderer’s ridiculous boots and then wait about five minutes until you see the cast together once again, you’ll know who the murderer is. Of course, it’s not revealed until AFTER they do a take on the test from The Thing that doesn’t quite go as planned. But once the killer is revealed, it’s a damn delight to watch him go absolutely bonkers, knock off a few randos and then have a big fight at the end that eventually involves the big robot.
All in all, it’s a perfectly crazy movie. While I appreciated Robot Wars for being better than I expected, Crash And Burn actually surprised me by being more aware of what it was and playing with the audience before finally giving them what they wanted in ways they might not have known that they wanted it. I can’t think of another movie I’ve watched recently where I had little-to-no expectations and yet was so pleasantly surprised.
Green Lantern: War of the Green Lanterns (DC)
Written by Geoff Johns, Tony Bedard & Peter J. Tomasi, drawn by Doug Mahnke, Tyler Kirkham, Fernando Passarin, Ed Benes & Ardian Syaf
Collects Green Lantern #63-67, Green Lantern Corps #58-60 & Green Lantern: Emerald Warriors #8-10
After the events of Blackest Night, the Green Lantern books had a little time to do their own thing before coming back together for the next big event, War Of The Green Lanterns. As it turned out, this also marked the end of this run in the old DC continuity as Flashpoint soon followed and everything was replaced with the New 52, though the GL books seemed to come through mostly unchanged (at least as I’ve seen in the first few volumes of Green Lantern and Green Lantern Corps). For reference, the volumes that lead up to War Of The Green Lanterns include GL: Brightest Day, GLC: Revolt Of The Alpha Lanterns and The Weaoponer and Emerald Warriors.
Alright, so the basics of this big event are that Krona, the being who looked back on the origins of the universe and accidentally unleashed evil is still around as a shrunken, crazy Guardian. He’s collected all of the emotional entities, trapped most of the main Lanterns in the Book of the Black, possessed the Guardians with the entities and put Parallax back in the main power battery to infect and control all existing GLs. Since they already had experience with Parallax, Hal Jordan, Kyle Rayner, John Stewart and Guy Gardner are able to resist long enough to ditch their rings and eventually put on new ones. Hal goes with Yellow, Kyle Blue, John Indigo and Guy Red.
From there it’s a matter of them figuring out how to master these new rings while also saving the galaxy from an army of mind-controlled Green Lanterns, including the biggest one of all, Mogo. Incredibly hard decisions have to be made, but in the end the heroes come through with a very hard-fought victory that results in one of them getting ousted from the Corps.
While the idea of yet another big GL crossover might not seem like the most interesting thing in the world, I will say that this one offered a lot that the others didn’t. For one thing, the rainbow of Lanterns is not around aside from our four main heroes. I also enjoyed how it focused mainly on the four Earth GLs working together, something that didn’t happen in the other events until the last few chapters. Also, while the universe might seem crowded with so many different and new Lanterns, this story really focuses on the GLs which is kind of nice.
War of the Green Lanterns: Aftermath (DC)
Written by Tony Bedard, Peter J. Tomasi & Scott Kolins, drawn by lots and lots of folks
Collects War Of The Green Lanterns Aftermath #1-2, Green Lantern Corps #61-63 & Green Lantern: Emerald Warriors #11-13
As you can imagine, the stories included in War Of The Green Lanterns: Aftermath deal with everything that happened in the wake of that story. There’s a plot to kill Sinestro who has a Green Lantern ring now, everyone hates John Stewart for taking out a major player in the Corps and the other Corps members seem to generally dislike Earthmen because they cause so much trouble. Of course, they also seem to forget that, without Earthmen like Hal and Kyle there wouldn’t be a Corps at all, but I guess small details like that are easily forgotten in the post-battle, post traumatic stress-filled Oa.
Overall, the tone of these stories is pretty down, but that makes sense from a story perspective. On the other hand, Guy gets to have a bit of fun as he goes on three one-off adventures in the final issues of Emerald Warriors, one of which teams him up with Batman. But, the sad tone actually makes sense on another level when you realize this is the very last Green Lantern Corps collection set in the old universe. As I mentioned above, the GL books made it through the change pretty unscathed, but there’s something to be said about closing out on something of a down note.