Another week has gone by and I’ve knocked out another pile of comics, most of which came from my local library system. As you can see, we’ve got a mix of amazing indie artists, classic comic visionaries, crossovers and newer books. Hit the jump to see what I had to say on this batch! Continue reading Trade Post: Frank, Midnighter, Constantine, Spirit & Batman/TMNT
I’ve been reading comics for about 22 years now and, for the most part, that time has been spent reading and absorbing new material, either newly released or new-to-me. When I was actively collecting single issues, it never even occurred to me to go back, dig out a bunch of my carefully organized collection and give them another read. It wasn’t until college that the idea popped in my head and I gave series’ like JSA and 100 Bullets another look.
Around that same time, I got more fully into the idea of collecting trade paperbacks. Since then, the trade has taken over as my main delivery system for comics and I feel like I’ve built a pretty solid library of objectively good comics mixed with some personal favorites. But like my comic collection, I’ve been mainly adding to the trade library without using it as a source of material. Well, apparently I’ve been feeling nostalgic lately what with my recent return to the first volume of The Runaways and a few other ongoing reading projects, so the newly minted Ex Libris titles seemed appropriate.
One of the less well known trades in my collection is a WildStorm/DC joint called The Highwaymen co-written by Marc Bernardin and Adam Freeman with art by Lee Garbett that collects the five issue miniseries of the same name that bowed in 2007. I was reminded of this series I discovered back in my Wizard days as it was coming out when I listened to Kevin Smith and Bernardin’s Batman Forever commentary on a pair of Fat Man on Batman episodes. I dug it at the time and added it to my library when I scored a copy of the trade from somebody’s comps later on down the line. I remembered it as a cool, taut thrill ride set a few decades in the future with some funny moments and a bit of sci-fi.
And I was dead on. The book kicks off with a shadowy government group accidentally setting off a long dormant protocol that alerts a man named McQueen to a threat he’s tasked with stopping along with his former partner Able Monroe. The duo used to be known as The Highwaymen, a pair of black ops guys who became famous. They’ve got to find a young woman named Grace and keep her alive because she’s actually one of the last survivors of government experiments shut down by Bill Clinton when he was president.
I had as good a time reading this book the second time as I remember having when it debuted seven years ago. Garbett does a killer job conveying the huge Bernardin and Freeman-penned action scenes in the book which cover everything from basic gun fights and driving sequences to cyborgs and cars driving out of planes. He also does a lot with facial expressions that convey the quieter moments of the book. Actually, now that I think about it, I don’t usually like car stuff in comics but Garbett does a great job making them seem as visceral as they do on the big screen.
At the end of the day, I enjoyed this comic book in the same way that I love a great, fun action movie from the 80s or 90s. There’s an over-the-top nature to it, but it still always feels grounded, even when it literally leaves the surface, which is no easy balance to achieve. This one not only gets a thumb’s up, but will be going right back on the shelf.
On several different occasions (including this one) I’ve talked about how much I dug Gen 13 in the 90s. Every ten years or so there’s a teen superhero comic that kids of that era really gravitate to. For me it was Gen 13. I started reading the book somewhere in the teens and made it my mission to track down all of the accompanying issues, crossovers, spinoffs, one-shots and first appearances. I actually did a pretty good job and have close to a complete set from their first appearance up to Claremont’ run.
It’s been a long time since I’ve read OG Gen 13 comics though. When it comes to youthful favorites I often wonder if my adult self will enjoy the material as much as my younger self did. In this case I’m not so sure how things will hold up, but there was one run I decided to try again when we went to my parents’ house for Christmas: Gen 13 #25-41 written by John Arcudi and drawn by Gary Frank, two of my favorite creators these days.
The Arcudi/Frank stuff really starts in a back-up story in #25 so that’s where I began re-reading. The gang — superstrong Caitlin Fairchild, weather manipulator Sarah Rainmaker, firestarter Bobby “Burnout” Lane, gravity controller Roxy and molecular bonder Grunge — are supposed to be lying low in NYC especially after their leader Mr. Lynch has been framed as a terrorist by the media and I/O leader Ivana. While I’m not 100% on what all went on in the 24 issues leading up to #25, it had something to do with part of the team going to space and Caitlin meeting a deranged version of their mentor and team leader John Lynch. Coming back, she can’t completely trust him because the crazy version didn’t seem all that different than the man she knows. After running into a fellow Gen Active who has a history with Lynch and fighting a mad scientist power-sucker named Tindalos, they head to the Florida Keys to lie even lower for a while.
In the Keys their adventures seem a bit more mundane but still include local conspiracy theorists, the return of Caitlin’s dad Alex, half the team running into another mad scientist who turned into a giant baby (see: right) and a quick trip back to New York by Roxy and Sarah so the former could meet with her step mom and the latter can try and find a woman she briefly met and became smitten with. All of this leads to a pretty bonkers confrontation with Tindalos and an attack that not everyone survives.
I vaguely remember this arc when it was happening and thinking it was kind of weird and slow. That’s an opinion that was shared by some of my fellow readers who wrote letters to that effect. But, like many of them, I found this arc to be incredibly engaging this time around. Sure, it lacks the on-the-run, constantly-in-danger antics of the previous 25 or so issues, but there is just so much going on here on a character level. Caitlin has to deal with her feelings about Lynch, Lynch needs some time away, Alex comes in and starts leading the team, Roxy discovers that her step mom is actually her birth mother AND that Alex is her dad. To a lesser extent, Sarah tries to combat her loneliness and find a lost potential-love. Grunge and Bobby don’t go through as much, but that’s alright. If everyone was having some kind of crisis, it would be exhausting.
Plus, Arcudi really made this whole thing feel like an arc. Characters learn things about themselves and each other, they deal with those revelations and by the end, most of them are different, especially Caitlin. And, while the wrap-up seemed to come a bit faster than originally intended (those last three issues cut back and forth a lot to the point where I’m still not exactly sure what happened), I still think as a whole these issues tell a complete larger story that feels satisfying at the end of it.
Did I mention how much I love Gary Frank’s art? Because I loooooooove Gary Frank’s art. I first saw his work on Midnight Nation and then a few other books that have all been a visual treat including his awesome run on Action Comics with Geoff Johns. He has such a clear, crisp style that mixes the big time superhero stuff we all know and love with the facial expressions of a Kevin Maguire or Steve Dillon. Heck, Cassidy from Preacher even shows up in a panel at one point!
After reading this run again, I’m actually pretty excited to go back and read the rest of the books in my Gen 13 collection. I remember some really fun arcs, runs and one-shots in there that should be a treat to go back to. While I don’t think all of them will be as good or solid as this run, I think there will definitely be some fun nostalgia moments.
I also realized that this run will be a good candidate for binding. At 17 issues, it’s pretty much the perfect size. But, the real question becomes whether I want to bind my entire collection. If that is the case, I might have to take a closer look and figure out the best way to do so. Before this arc you’ve got 24 issues, plus the various first appearances and the original Gen 13 miniseries, so I’m just not sure how it will all shake out until I get my collection back together in one place. Maybe I’ll pick a mini or a few one-shots from this era to round things out.
Garth Ennis is one of those comic creators who has earned a life-time pass as far as I’m concerned. His work on Preacher (my reviews of which you can read here, here and here) resulted in one of my favorite works of fiction ever. I’ve read plenty of his other stuff from the myriad of World War II-inspired tales to things like Punisher: Welcome Back Frank and The Authority: Kev. While most of those other books don’t match Preacher (probably because that book now stands on such a pedestal in my mind) they’re all enjoyable.
When I saw a copy of his Bloody Mary trade on a fellow Sequential Swapper’s page, I was quick to try and get my hands on it. We were able to work something out and I eventually got to reading it fairly recently. Packed with the usual Ennis dark humor and bloody violence, the two miniseries’ featured in the collection follow the adventures of a super soldier by the name of Bloody Mary who fights on the side of the US and Britain in their longrunning war with Europe in the year 2012. As you might expect from a Garth Ennis comic, neither side is particularly angelic and just about everyone has severe emotional and psychological problems, but that doesn’t stop them from having a sense of humor about all the terrible things going on around them.
Both stories — which were published in the mid-90s by DC’s short-lived sci-fi tinged imprint Helix — work really well in their allotted four issue stories which can be a nice change if you’re used to huge, overarching comic stories. It’s nice to see a writer and artist get in there, do their thing and walk away with four rad issues of art and story. Speaking of which, Carlos Ezquerra is pretty much the perfect artist for this book. He’d done plenty of dystopian war torn futures from his days working on 2000 AD. In fact, I’d say that, even though Mary herself is American and Ennis is Irish, the look and feel of Bloody Mary reminds me of what few British comics I’ve read and seen from the lates 70s/early 80s, but in a way that doesn’t feel old or tired. I’m not sure if this was their first pairing, but Ennis and Ezquerra would go on to work together plenty of times and now I kind of want to back and read some of those WWII stories.
By the time Alan Moore launched America’s Best Comics through WildStorm back in 1999 I’d probably read Watchmen, but it was still a little over my head. So, I wasn’t as crazy excited about ABC as I should have been. I’ve written extensively about League of Extraordinary Gentlemen here and here as well as Top 10, but the two glaring omissions in my ABC reading have been Tom Strong and Promethea. I’ve attempted to read both of these books at different times in my comic reading career and even have the very first issue of Tom Strong signed by Chris Sprouse (as well as a sketch of Tom that Sprouse very nicely did for me around the time of the book’s launch). And yet, neither clicked for whatever reasons.
Well, recently, again while perusing Sequential Swap, I saw the first volume of Tom Strong up for trade and decided to give it a read. Man am I glad I did. If you’re unfamiliar with the concept, Tom Strong is a kind of Doc Savage type character whose scientist dad decided to move to an island in 1899 when Strong’s mom was still pregnant with him. Tom was born into a pressurized containment unit where he was taught by his parents and their robot Pneuman but never had skin to skin interaction with them until the day an earthquake hit, his parents were killed and Tom emerged to be raised by the island’s natives, a group who had mastered their own sciences. Tom strong eventually married their princess Dhalua, became a renowned adventurer and had a daughter named Tesla.
Much like Bloody Mary, I enjoyed how these issues mostly did their own thing while also adding to the growing mythology of Tom Strong. And that’s really the beauty of this particular Alan Moore comic book, you get the feeling that this entire world exists in his head and he’s giving you exactly what details you require when you need them to not only keep you invested in the story, but also to show you how deep that well goes. Each issue is basically a self-contained story that also includes a back-up story, usually informing the formerl. I loved the storytelling on display which could be enjoyed both for the adventure itself, but also as a way of watching a writer convey story and worldbuilding to the reader without ever getting heavy-handed or boring.
Speaking of never boring, the art in this book is masterful. Sprouse’s style is absolutely perfect for the big, bold heroics that go along with the core of Tom Strong as a character and a comic book. His lines are so clean and clear that you always know exactly what’s going on which is even more impressive when you think about how dense Moore’s scripts can be. Adding to the visual fun is a host of beloved artists who offered their talents to the back ups. Art Adams and Gary Frank are two of my absolute favorites so seeing them do some stories was great. You also get to see Jerry Ordway and Dave Gibbons do their thing.
The crazy thing about this book is that it kind of felt like Alan Moore was using some of his crazy snake god magic on me through its pages as a way of inspiring creativity. There was something about the time and place and experience of reading this book that I’ve never experience before. As I read each issue, I was further driven to sit down and write my own stuff. I was literally reading the issue while also thinking about my own story which seemed to be growing at a much more rapid pace than usual and then putting the book down, flipping my laptop open and typing ideas like a madman. I don’t know if I was just inspired by the creativity on the page or what, but it was a really great experience.
KEEP OR DUMP: As you might already be able to tell by the reviews, I’ll be keeping both of these books in my collection because I enjoyed the reading experiences so much. When it comes to Bloody Mary, I’m sure I’ll want to return to this book both to experience this story again and also to get a quick dose of Ennis that doesn’t involve reading a much larger run on a series like Preacher, Hitman or Punisher. Regarding Tom Strong, I’m keeping it and also doing my best to track down the other trades even though I know Moore doesn’t write the last two or three. I look forward to acquiring them and eventually reading the whole run altogether.
Back in 1999, Alan Moore threw in with WildStorm, then still part of Image, and launched his own imprint called America’s Best Comics. His first three books were Top 10, Tom Strong, Promethea and The League of Extraordinary Gentlemen. The line took various other genres like pulp fiction, Victorian literature and crime drama and looked at them through Moore’s probably-snake-god-shaped-superhero-loving prism. At the time, this was a big deal because Moore had been doing a lot of random Image and WildStorm books just a few years before.
I don’t quite remember when or where I picked up the first LOEG trade, but I think it was in college. I do know that I wrote an extensive paper comparing Moore’s versions of these characters to their literary originals. I found the document and might upload a PDF along with my notes if its not too too embarrassing. Anyway, I believe the second volume was already out by the time I got into the series, but after getting caught up I had to wait like everyone else for Black Dossier, which, as I mentioned previously, spawned my re-reading of this whole franchise.
As I mentioned in that post, I wanted to see how the book’s two main stars Mina Murray (Dracula) and R. Rider Haggard’s adventurer character Alan Quartermain started their relationship, but I was also excited to see the book’s other stars Captain Nemo, Dr. Jekyll (well, really Mr. Hyde) and the Invisible Man (not really, but I’ll get to that). You could say that this book does not actually revolve around the burgeoning romance between Murray and Quartermain that the book’s latter installments focus on, but in addition to introducing us to the characters and pitting them against a nefarious Doctor, you still get to see how these two first met and hints at what attracts them to one another. This becomes much more the focus in the second volume, but the seeds are here.
That being said, it wasn’t the romance that made me fall for this series in the first place, it was Moore’s very simple concept of gathering together several characters from fiction and putting them together on a team to battle other characters from books. I love a good crossover/mash-up and this is a superb one. So, you’ve got me on one level just because I like the idea, but upon re-reading the series, I was impressed with how Moore made me care about dusty old characters whose books can by quite boring to read through. There are some really cool moments between characters that some writers would have gotten rid of in favor of more action scenes, but Moore balances these things well.
I will say that I had a bit of the problem with this first volume that I had when re-reading Moore’s Top 10 a while back: the journey isn’t quite as fun when you know the twists and turns. For Top 10, a lot of the stories revolved around “Whoa” Moments (when a detail is revealed to the reader and he or she does their most sincere Keanu impression), but those moments aren’t quite as interesting the second or third time around. For LOEG Volume 1, I had some of the boredom when the team was being put together in the first few issues. I’ve read these before (and seen the cover) so I know they get Jekyll/Hyde to join;, seeing it again feels a bit been-there-done-that. But, even those teambuilding scenes get peppered with some of those personal inter-character moments that I really like. For instance, when on a mission that winds up bringing the Invisible Man into their ranks, there’s a really cool moment between temporary roommates Nemo and Quartermain where they acknowledge they’re participating in this wild experiment because they both love adventuring even though they’re gaining in age.
The second volume of League stories follows the same team on adventure that takes many of its cues from War of the Worlds. I wrote about this a while back when comparing it to the original novel, the radio play and the movies, but there’s a lot more going on here than just a take off on the heat gun-using walking milkstands first described in H.G. Wells’ novel. Again, it’s the character moments that I not only liked most but also remembered better. Mina and Alan in the woods sticks out, as does Hyde’s encounter with the Invisible Man, which happens to be one of the most disturbing and creepy sequences in fiction that I’ve ever experienced.
Here’s an interesting look into my own psychology and how I approached this first two volumes the first time around. As I said, I was in from the first description I heard of these characters. I hadn’t read most of their stories, but I also immediately liked them. But, these are not all very likeable characters, especially the Invisible Man. An interesting combination of my own misguided bias and Moore’s ability to make even monsters charming made me almost forget about some of the terrible things these characters have done. That’s an interesting trick.
Another interesting thing I realized on this second reading is that, by populating these stories with characters from existing fiction — including people seen in crowd shots — Moore and O’Neill actually make me think about every single character in every single panel. “Oh, I wonder if that guy’s somebody? What’s her story?” These are things I don’t normally think when reading a normal character because they’re “just normal people.” But if I’m under the impression that even a background character might have an existing literary history, I’m more intrigued. This also makes me worry about extras in dangerous scenes more than I normal would.
One of the interesting things that I noticed having read these books in the unconventional order that I did — Black Dossier, the Century books, Volume 1 and Volume 2 — is that certain things seemed to become more important. When Mina starts writing a letter to Campion Bond in the second issue of the first volume it wasn’t just a literary device used to convey exposition and remind readers what had happened, but also an actual document that was probably sitting in a folder somewhere. This along with the above comment about the book’s population add an extra layer that makes me want to dive in all the more.
I could probably go on and on about these book and how much I enjoy them or how many things I noticed in this reading that I hadn’t noticed before — like Mina being “treated” at the same hospital they found the Invisible Man in — but I want to bring it back around to one last element that I’ve kind of hinted at and danced around in both of these posts: Mina is a fantastic character. She’s so strong it’s ridiculous. Terrible things have happened to her in her life, not the least of which was getting attacked by Count Dracula and yet she perseveres and strives to utilize the opportunities given to her in an effort to make her life better and move on. She was a school teacher who would otherwise have no business working for the government, let alone leading a secret tactical group of freaks and ne’re-do-wells, but as Hyde points out in volume two, she’s seen worse than most of them can offer. Instead of letting her past destroy her, she’s embracing it and using it not only to her own advantage, but to the advantage of her country and the world. These are qualities that her teammates can sense in her and lead to them accepting her as their leader. She’s the human lynchpin that holds the monsters together, but also offers the example that allows them to have human moments of their own. She’s literally the key to the whole series which is why she’s not only the first character we’re introduced to, but also the focus of the rest of the volumes.
With all that being said, I’m really looking forward to whatever else Moore and O’Neill have in store for this universe. I remember reading they’ve got something with Nemo’s daughter in the works. I’d love to learn more about that family and what they’ve done over the years. Frankly, I’d love to read about anything set in this world. I’m hooked, keep the juice coming.
Any time we go away for more than a few days, I like to give myself what I call a project comic. This is where I grab a bunch of issues or trades of one series or a particular creator and dive in. For Christmas, we went to visit my wife’s parents in New Hampshire and after a lot of thinking (more than I like to admit, really), I settled on giving League of Extraordinary Gentlemen a read from Black Dossier through the last Century book, which I hadn’t read yet. After finishing Century 2009 I hadn’t quite gotten my fill of the series, so I went back and gave the first two volumes a read and had a delightful time with the whole series.I’m going to start off with this post focusing mainly on Black Dossier and the Century trilogy and then come back for the second part which will talk about the books and concepts in broader terms.
If you’re not familiar with the general concept behind League of Extraordinary Gentlemen, it started out as a Victorian superhero team of sorts that brought together Mina Murray from Dracula, Alan Quartermain, Captain Nemo, The Invisible Man, Dr. Jekyll and Mr. Hyde brought together by the British government to help them defeat extranormal threats. The bigger idea is that Alan Moore created a world inhabited by many of the characters we’ve read about it books for as long as the written word has been around. While introducing his versions of these characters and the kind of world that can hold them all, Moore also hinted at a much deeper and richer history to this world.
Black Dossier completely revolves around that history. The book works on two levels. First, it’s your average comic book showing the latest adventures of Mina Murray and Quartermain in 1958 as they steal the document you’re reading in an attempt to figure out what the government knows of their exploits since they severed ties. It’s also the aforementioned collection of documents all pertaining to the history of the League as if it were put together by someone in that universe. So, while you get your comic story, you’re also, essentially, looking at papers that are not for your eyes only, making it kind of fun and sneaky.
I’m impressed with how dedicated Moore was to the idea of this book. The documents he created range from forgotten Shakespeare plays and weird mod tales to journal entries and MI6 correspondences. From my limited experience with the types of writing Moore pays homage to in these stories, he does a solid job of matching them and utilizing them to convey information accurately in the style of the respective eras.
To be honest, though, reading through all those text pieces can be a slog. While I appreciate Moore’s attention to detail and ability to switch styles with the flip of a page, I wonder if the whole thing is a little more, “Hey, I bet I can do this,” than, “Hey this will serve the story really well.” I’m still on the fence with this point but think I’m leaning towards the latter. I like the idea of the format and maybe just wish there had been more image-oriented tales instead of page after page of dense text. I admit, I tend to have a problem getting interested in all-text pages in comics, so that doesn’t help. Still, I stuck with this one and read almost every single bit, skipping some paragraphs here and there to get to the point a bit quicker.
As far as the references this series is known for, I liked seeing James Bond’s involvement. I mean, he’s not treated particularly well and seems more based on the movie version of the character than the one I’ve read about in the first few Ian Flemming novels (to my poor memory, at least), but it was neat to see Campion’s relative involved in the proceedings. I know there was a lot of problems getting this book published, I believe because Moore wanted to incorporate more overt references to pop culture characters but DC was worried about a legal backlash. I’d love to hear what those were, if anyone knows of a good interview on the subject — or LOEG in general — please drop me a link in the comments.
While I’m not 100% in agreement with the presentation of all the information conveyed to the reader in this book, I do really appreciate the lengths Moore went to to not only stick with his vision, but also give the reader a mountain of information and history to comb through and absorb. I forgot most of what was in the text sections after only reading this book one time previously, but it’s still amazing the way he weaves together all kinds of existing fictional elements into a brand new tapestry that has its own history. It does raise a few questions like how come no one seems to believe in weird stuff in this world that not only survived a Martian invasion but at one time had an England ruled by a faerie queen? But overall, I like the information, I like the intent and above all else I loved getting to see Mina and Alan together again doing their thing. I’m a sucker for that thing in fiction where you allow your characters to cheat death and be together, it’s the hopeless romantic in me I guess. Oh, minor SPOILER, but Mina and Alan found a fountain of youth in Africa which is why they’re neither decrepit nor dead.
Things were a lot less romantic in the Century volumes, at least as they progress. These three books were presented in prestige format with mostly comic pages and a few text pages in the back. I admit, after going through Black Dossier, I skipped all the other supplementary materials moving forward. Anyway, Century 1910 gives us a look at what the British government has dubbed The Mina Group, consisting of mostly new members, trying to stop the birth of an apocalyptic individual called the mooonchild.
The plot mainly revolves around that, allowing the reader to get their first real look at the team that now includes Quartermain Jr., Carnacki, A.J. Raffles and Orlando who becomes a major part of the next two books. I’ll be honest, I didn’t have the giddy thrill of reading these new characters just because I’m nowhere near as familiar with them as the members of the first team, but it was still an enjoyable read with an intriguing story. We’re also shown what happens to Captain Nemo and the brutal, unfortunate tale that finds his daughter becoming the captain of the Nautilus.
Let’s call the next paragraph SPOILERVILLE. The most interesting part of this story is that, thanks to the soothsaying visions of team member Carnacki and the ensuing investigation by the team, they actually plant the ideas necessary to bring about the apocalypse in the villain’s mind. I thought that was kind of a brilliant and tragic kick off to a three part story. My only complaint about the book is that it seems a little bit preachy at the end. Actually, preachy’s probably not the right word, but the reason Nemo’s daughter decides to become the new Captain Nemo is because a bunch of drunks at the bar she works at rape her one night. She decides to bring down the thunder of the Nautilus on these people as revenge and then continue her father’s work. The very end of the book features a murderer and a barmaid sing a song about how terrible the world is and that the basic needs of the people need to be met if the higher classes expect things to get better. This is actually an opinion I agree with, but a part of me saw the brutality of Neo Nemo’s situation exploited to make this point. I know it holds with the history of the time and this is a fictional character, but that feeling still nags at me.
This second volume of Century, set in 1969, follows the adventures of Mina, Alan and Orlando who have become an adventuring trio who no long work for the British government. Much has happened in the 59 years since the previous volume (and the 11 years since Black Dossier), but like all the other installments of this franchise, most of them are hinted at or further explored in the text pieces that remain half- or un-read by yours truly. I’m particularly interested in Mina’s superhero team, but will get to that eventually.
Anyway, it’s the swinging 60s in London and our heroes are reminded of the old case revolving around the moonchild and the apocalypse. This time, the nefarious plot revolves around the bad guy who hops from body to body and intends to take over the lead singer of a Rolling Stones-esque band.
Since I’ve already fallen hard for these characters, I think I’d enjoy seeing them in just about any situation, but I’m also fascinated by this era in history and love the way it lends itself to a visual medium like comics. I also really enjoyed seeing how this trio had progressed over the years and how they deal with their immortality in different ways, especially how Mina adopts the language of the times in order to not feel like a dinosaur.
I also like how I got a lot more of the references in this volume. I mean, the Ruttles are a big band in this world, which is hilarious and awesome. There’s still a lot that went over my head, but I’m used to that from every other volume. Speaking of references, this volume is basically one giant nod to Empire Strikes Back. You’ve got the heroes learning more about the villains, a battle between the main hero and the main villain and a super-downer ending that makes you salivate for the next installment. For what it’s worth, I don’t usually get emotionally worked up when it comes to comics, but I got pretty upset with what happened to Mina at the end of this book. I was even more upset when I read 2009, though.
Seriously, when I realized what had happened between 1969 and 2009 with these three characters I was heartbroken, or at least as heartbroken as I can get from fictional characters. It’s just so sad. Forget about losing a a hand and realizing your dad’s a galactic-level jerk, Mina, Orlando and Alan had it ROUGH.
This volume finally brings the promise of the first to a head as the apocalypse and moonchild are both confirmed unless our incredibly damaged heroes can stop them. This part of the story is not only about defeating what seems undefeatable in an external sense, but also getting over even the worst possible things done to you by others or yourself. It’s about triumph over adversity and for that it’s a positive and exciting tale, one that features a SPOILER Harry Potter analog fighting Mary Poppins…or god, or something, I’m not quite sure, but I liked it better than that weirdness at the London Olympic Opening Ceremony.
As you’d expect, I got WAY more of Moore’s references this time around, which always adds to the enjoyment of these books. The more you’re in on the joke, the funnier it is and all that. I also like how the mythology of this series kind of came to a head with several characters from other books, including Dossier, making appearances and playing important parts in the story.
Getting back to SPOILERVILLE, beware. Still, it’s not the happiest of endings, is it? While Orlando and Mina seem to get through the final battle relatively unscathed, poor Alan looks to have died. We see that he was taken back to their fountain of youth, but doesn’t seem to have made it. Here’s the thing though, we know that Alan’s faked his death before and it’s possible that Mina and Orlando don’t trust their new former government friends as much as they’re letting on. I wouldn’t be surprised if we see more of him. I hope we do, I’ve grown quite fond of these characters of the years.
I’ll get into this in more detail in the next post, but one of the reasons I went back to read the first two LOEG volumes was because I wanted to see how Mina and Alan’s relationship started out. It’s much different than what we see in BD and the Century books. I like who Moore developed them both as individual characters and their relationship as its own kind of entity, not to mention how the inclusion of Orlando altered and augmented that union. At the end of the day, beneath all the literary characters and all the references and all the magic and sci-fi and fantasy, League is actually the story of two very extraordinary people not only teaming up but finding love in a world that never fails to surprise and accost them. That simple nugget in the center of this much larger thing is what readers can grab onto while being exposed to the strange, wonderful and horrible.
I read through about half of DC’s New 52 #1 issues a while back, but it’s hard to judge an entire series based on just one issue, so I was pretty jazzed when I got my hands on some of the trades. One of the books I was most curious about was Paul Cornell’s Stormwatch, which I had read none of. On one hand, I’ve liked Cornell’s work in the past and on the other, I’m a big Wildstorm fan and was curious to see how some of those characters and concepts were integrated into this new DCU. Thankfully, I was pleasantly surprised with the results.
The tricky thing about doing anything with the Stormwatch and Authority characters is that Warren Ellis put such a stamp on them. He added a seriousness and a weirdness to the proceedings of these characters (and created half of them) that you really can’t separate them from him. Heck, most writers who tackled the team after Ellis left did their best, but it was difficult to pull off. I think Cornell did a pretty great job of playing in that same kind of sandbox, but making it more of a solid superhero story that, as far as I know, works well within the framework of a bigger superhero universe.
The basic idea with this team is that they deal with the dirtier and darker problems that the JLA can’t or won’t deal with. The series picks up with the team — which very smartly includes Martian Manhunter — trying to recruit Apollo and Midnighter and deal with a world-threatening bad guy. It’s a cool, fun and weird superhero story that throws out some rad ideas (I like how Jack Hawksmoor talks to the personifications of cities) and includes some rad action that sets up a larger story, something that works very well for an episodic adventure like this. I also dug Miguel Sepulveda’s artwork which suits the darkness and the superheroics both quite well.
I’m curious about the rest of this series, but right after this collection, the writer changes twice. Paul Jenkins, a writer I’m not wild about, comes on and is soon followed up by Peter Milligan. Did anyone read those issues? Does it flow well? Does it continue to pay off the promise of the sixth issue? Let me know in the comments.
Suicide Squad is a concept I dig in general, criminals being used on missions instead of rotting or dying in prison. I liked it the first time I saw it in The Dirty Dozen (such a great movie) and every time I encountered them in comics. So, this was another book I was primed to like. I think this one caught some flack, didn’t it? I can’t remember, but it’s definitely a darker and dirtier book, something I dug because you don’t need every comic to be on the same wavelength. In fact, I give DC a lot of credit for casting as wide a net as possible when it came to tone and themes with the New 52 books.
Anyway, the New 52 version of the Suicide Squad includes Harley Quinn, Deadshot, King Shark, El Diablo, Voltaic and Black Spider. They’re sent by Amanda Waller to take care of the smaller, dirtier missions that even Stormwatch isn’t paying attention to. The thing I liked most about this book is how fast it moves. They literally go from one mission to another as quickly as possible. Writer Adam Glass also doesn’t drag things out to six issues when he can do shorter ones, which I really appreciate.
This book covers all kinds of bases, from zombies to heroes-on-the-run and lots in between, plus the fun of seeing some of the weirder, smaller characters pop up (Mad Dog!). Because it’s a new team and a new universe, you really don’t know who’s going to make it out alive from issue to issue or who’s going to try and turn on the others, so it makes for an exciting ride. My one gripe with this series is the inconsistency of the artwork. It changes by page sometimes which is a real bummer, especially because some of the guys don’t hold up as well as others. Worse yet, some art styles look cartoony while others look darker, so it kind of throws you out of the story a bit.
One more thing I want to say about these trades in general is that I like how consistent the trade dress is. I know that might sound goofy, but it’s something I pay attention to, especially as I look at my trades on the shelf. I like consistency. So far, all the trades I’ve seen have that bar across the bottom front cover displaying the creative team, but then the spines all have the same font and are separated by color bands at the top that I believe denote which sub-section of the new DCU they belong to. Kudos on that.
Regular readers will remember that I read and didn’t really get 1993’s Archer & Armstrong #17 from Valiant a few weeks back. Before tossing it in the get rid of pile, I went through and snapped a few pictures like this one for the 27th issue of Wizard. I was still a few years away from discovering the magazine at that point, but I do remember seeing this Jim Lee Wildcats cover in books and around the office. Interviews with Alan Moore and Travis Charest? Sounds like a pretty solid issue, actually. Plus I wouldn’t mind getting my hands on a Mortal Kombat arcade cabinet.
I talked about and explained the whole concept behind Wildstorm’s World’s End event in last week’s Trade Post where I wrote about the Stormwatch and Gen 13 installments. Today I’ll be reviewing the two Authority collections from the same time as well as the second Wildcats one (I thought I had the first when I started reading these trades, but soon realized that wasn’t the case).
As I said in that previous post, the Wildstorm Universe basically came to a crashing halt and all the heroes had to figure out how to go on in the face of such widespread destruction and death. In the case of The Authority, their headquarters, The Carrier, a gigantic ship that can travel through dimensions and is powered by a baby universe, got all messed up and crashed in London, fusing with the city. The new world is so polluted that Apollo can only stick around for a few moments, Engineer can’t access her nanites and Jack Hawksmoor doesn’t have any cities to draw power from because they were all destroyed. Midnighter and Swift are both alright and doing their best to keep the survivors they can find safe.
It’s a really interesting dynamic because, for their entire lives as characters, the Authority have always been the king turds of poo mountain. They had the best powers and the best tech to back them up, but they only worked best for the world they were living in and not the one they are living in. Abnett and Lanning do a great job of chronicling how they deal with these new circumstances. This collection shows how Midnighter stands against an unkillable enemy, what a new virus is doing to people, how a few other survivors are doing and gives alternate angles to a story from Stormwatch where the two teams meet up.
The Stormwatch crossover at the end of the previous book got the team back up and running in some respects. The Carrier powered up a bit as did Angie and Hawksmoor. On the other hand, Apollo still can’t handle the atmosphere and, as if that weren’t enough, he’s got that Warhol virus running through him.
This collection deals with a lot of the Authority’s previously-fought enemies, showing how they survived the apocalypse and have even taken advantage of the situation. You’ve got the blue guy from Sliding Albion, Kaizen Gamorra and his super powered weapons and even Cybernary. We also find out a little bit more about whatever happened to the Doctor.
It might sound like this book is steeped in continuity and might be difficult to slog through, but I didn’t find that to be the case. It’s one of those things where you’re told enough about the characters, but if you’re really interested, you can find out more online or in other collections. It makes a great companion to the first volume, but like Stormwatch and Gen 13, the last issues of the series have never been and might never be collected. Again, the appeal here is the creative use of the Armageddon situation and how it has changed this team of badasses.
I don’t usually read through a series of trades without having everything, but I was too far into my World’s End re-reading when I realized it and, honestly, it doesn’t matter too much. I remembered enough of the basics–or so I thought–to read on and still enjoy the second volume. Turns out I don’t remember many of the specifics of those first six issues, but I do remember that the ‘Cats are still in New York in the Halo building and, like The Authority or Stormwatch, help as many people as they can. There’s also a cool nod to Joe Casey’s Wildcats 3.0 that I liked as a Wildstorm fan: people are going butt nuts crazy over getting the Halo batteries that never run out of juice. This is a great example of taking an elements from a shared comic book universe and using it in a later story that I really dug.
Anyway, the bulk of the story in this collection finds the Wildcats dealing with Majestic, a fellow alien who has created his own island paradise–and also knocked the Earth back on its axis after the Armageddon event, if you were curious–and gone crazy. Actually, on the surface, he’s okay, giving people a well built paradise to live in, but behind the scenes, he’s keeping his daughter captive and trying to make a child with her.
Meanwhile, Ladytron has made friends with a bunch of fellow robots which also lead to problems with the Daemonites kicking back up. When the Wildcats went off to encounter Majestic, they left Ladytron behind. The Daemonites took this as the perfect time to attack and did so. By the book’s end the two storylines come crashing together and leave the ‘Cats in a much different place than they were when this whole thing started. Again, I think there’s enough fun action and drama in the book that anyone can enjoy it, but I’m not sure how accessible it might be to a new reader. I like to think it is, at least someone interested in checking out the existing World’s End books.
By now, I assume readers are somewhat familiar with my love of Wildstorm. Not only have I written about many of their trades in many previous Trade Post and Pile reviews, but also did a full post about how much I like the universe. While at Wizard, I became the de facto writer of all things Wildstorm for a while there, but was over at ToyFare by the time World’s End started. If you’re unfamiliar, after a mostly unsuccessful attempt at restarting the universe (flagship titles Wildcats and Authority written by Grant Morrison and drawn by Jim Lee and Gene Ha respectively only produced a total of three issues combined) the powers that be at the ‘Storm decided to take drastic measures: they blew the world up. Not entirely, mind you, that wouldn’t make for very interesting comics. Instead, the kind of threat that the heroes of Marvel and DC always thwart succeeded and an army of deranged, formerly captive and brainwashed heroes went bonkers on the world before literally exploding. The trauma killed millions and even temporarily knocked the earth off its access. Much of this is covered in Wildstorm: Armageddon, Number of the Beast and Wildstorm: After the Fall.
It was bad. But there were survivors, both of the hero variety and normal folks with the former doing their best to look out for the latter. Which brings us to Stormwatch PHD. For two trades, this was a book set very firmly in the Wildstorm U that brought back members of the classic Stormwatch team and put them on more ground-level type missions. With the end of the world, though, the book shifted focus with its heroes up in the orbital Stormwatch satellite trying to keep people safe. Run by Jackson King, he has split up the super powered operatives left at his disposal into two teams and sends them on missions to both save people (they’re keeping as many as they can on the satellite, but are quickly running out of space) and defeated threats to humanity.
What I like most about this book specifically and the World’s End books in general (those that I’ve read) is that they really went for it. The world is screwed and these heroes are doing their best to keep things afloat. Even with all their teleportation and super powers, there’s only so much that you can do. This book also did something that would become a standard of the rest of the Wildstorm U in that it incorporated elements from the history of the company in ways that made sense. In this case, you’ve got Deathblow working for Stormwatch. This is not something that happened before, but it doesn’t really need explaining (though what happened between Deathblow’s last series and this does get explained at some point in a way that was pretty clever). This would become SOP a few issues down the line when the heroes were split between one group staying on Earth and the other going to space. I’ve gotten really annoyed with how bogged down and sometimes boring mainstream superhero comics can be, so it was nice to see a company stick to something as crazy as this.
I might not be the best judge on something like this, but I would even say that it’s pretty new-reader-friendly. That might sound a little crazy, but it seemed to me like enough was explained that an open-minded and curious reader could easily jump right in and follow along. That continuity stuff I mentioned is fun for people like me, but I don’t think the series as a whole is bogged down with it.
I think that same can be said for the first Gen 13 installment in World’s End. This team was what actually got me initially excited about Wildstorm. I was a huge fan because it was the it teen comic of the day. For some folks that was Teen Titans or New X-Men, but this was mine. I have been routinely disappointed by pretty much every incarnation that has come since the awful Chris Claremont relaunch years ago. It also didn’t help that they had one of the muddier post-continuity shift histories. Something about being grown as superpowered sex slaves or whatnot? Even after being so confused the first time around, I gave it the good ol’ college try again recently when reading the trade of the second volume, but it just didn’t do it for me.
But, I didn’t feel that way with this collection. Sure, there are references to the new status quo, but it kind of felt like I had just missed one arc of the old series. Beatty does a great job of capturing that old dynamic between Grunge, Fairchild, Freefall, Burnout (now blinded) and Rainmaker.
Unlike Stormwatch or Authority, which have larger, more global goals, the Gen 13 kids are just trying survive and figure out what happened. They were hopping around in time or somesuch and came back in after the big event, so they missed the whole thing. This is a pretty fun and interesting concept that fits in with the characters pretty perfectly. Same goes for the art by Huddleston and Dan Hipp, who has an awesome sketchblog you guys should all check out.
I’ve got a post in the works covering the two Authority books and the second Wildcats one (thought I had the first, but don’t). The bummer about reading through these is that they’re so fun and yet the rest of the issues leading up to the line-wide cancellation of Wildstorm haven’t been collected. I’m not going to hold my breath for them to be either. I think I’ll keep an eye out for cheap copies of what I don’t have (I made a checklist) and see how it ends. If it’s rad, I’ll probably get them bound!