Pulp Friction #2 – Review

By: Mark Waid (story), Loston Wallace (pencils), Bob Wiacek (inks), Hi-Fi (colors)

The Story: The Spirit on a plane.

The Review: Four months—that’s the amount of time it took to get from the first issue of this (four-issue!) mini to the second.  And that’s only after a month or so seeing the issue solicited for release week after week until my local comic book shop gave up and redacted the title from their weekly newsletter entirely.  I don’t know if this is the consequence of a dual-publisher team-up or what, but it better not be a running pattern.

The problem with shipping delays is, even though they have nothing to do with the story itself, they still affect the story’s impact.  Ordinarily, each issue only has to have enough substance to carry a reader through the next month.  When you have an issue that must now carry four months’ worth of entertainment on its back (and possibly four more—God forbid), you’re only setting it up for failure.  It gets even worse when, as here, the issue isn’t outstanding anyway.

Indestructible Hulk #8 – Review

By: Mark Waid (Writer), Walter Simonson (Artist), Bob Wiacek (Ink Assist), Jim Charalampidis (Colorist), Chris Eliopoulos (Letterer)

The Review: And so, as with all good things, Mark Waid and Walt Simonson’s Gods and Monsters story arc comes to an end. So far this story has offered a whip-smart marriage of science and magic and this issue is no exception, even going so far as to add a heady dose of comic book nerdery into the bargain. There’s action, there’s laughs, there’s drama, and it all blends seamlessly. There’s even a touching scene of Hulk-on-Thor man-love…more on that later.

One definite strength of this story is how there’s been a lot going on at all times but nothing has ever gotten too muddled. Banner and his crew of scientists are still on mission to extract a sizeable amount of Eiderdűrm for their research purposes, and on that front Viteri has his own enjoyable team-up with Thor. The two work out a way to extract the element from a Jotunheim waterfall by way of using Mjolnir for “Electrostatic separation,”…I ain’t got a brain for science but this seems pretty legit, so this comic gets extra marks for teaching me more than just how to smash Frost Giants.

Supergirl #8 – Review

By: Michael Green & Mike Johnson (story), George Pérez (art), Bob Wiacek (inks), Paul Mounts (colors)

The Story: Unnecessary bangles, beanie hats—you’re really on Earth now, Supergirl.

The Review: No matter how much anyone emphasizes the Super-family’s non-human origins or background, the fact remains that they are heroes of Earth, not of Krypton, Kandor, Argos, Cadmus, or what-have-you.  Supergirl pretty much proved that last issue when she defended New York City against invaders who came from her home planet.  Over half a year later, the time seems right for her to make an emotional connection to this world she’s chosen as home.

Green-Johnson have done an admirable job of not letting our heroine get lost in her cousin’s big shadow, especially so early on in her career, so I appreciate that Kara doesn’t immediately turn to Clark for help now that she’s settled here.  Instead, the writers throw in Siobhan Smythe, who serves as the ideal foil to Supergirl.  Since she’s a fellow orphan and emigrant to America, she can sympathize with Kara in important ways, and her good-natured approach to the world will be particularly useful for acclimating her Kryptonian friend to human society.

T.H.U.N.D.E.R. Agents #3 – Review

By: Too many to list—check out the review.

The Story: For taphophobes, consider this immersion therapy; you’ll feel better if you don’t die.

The Review: I must say, I was rather amused by the tagline inscribed on this issue’s cover: “NoMan’s dark secret revealed!”  For one thing, the tease is horribly melodramatic—italics have that effect on anything you write.  For another, it sets some very high expectations for the story, as any use of the word “dark” tends to do.  Your instinct is to wade in with some good-natured skepticism, unsure if the issue can succeed, but willing to see it through anyway.

But if anyone can actually live up to the “dark” standard, Nick Spencer can, and NoMan’s secret turns out grim indeed, in both substance and style.  From previous issues, we know experimental detonations of atomic weapons in the Subterranean land wreaked havoc on their country, and we know war between them and us surface-dwellers ensued.  What we didn’t know until this issue is how that conflict ended, and unsurprisingly, the end involved an atrocity of the grossest kind.

I mentioned last time how Spencer likes to add some clear real-world reflections in what he writes, and the use of a Doomsday weapon—make that several Doomsday weapons—against the Subterraneans to coerce their surrender is all that.  Very telling is how even now, presumably decades after the war, the Subterraneans have left open a mass grave, exposing the remains of all those who perished from the Higher United Nations’ deadly attack.  “Six million,” by NoMan’s calculation.  For perspective, the combined bombings of Hiroshima and Nagasaki resulted in somewhere between 150,000 and 246,000 deaths.

What makes these revelations all the more powerful is that we see them through the eyes of a man responsible for all this mess.  It’s NoMan’s pensive brooding that forms the spine of tension throughout this issue.  He reminds us that he was a scientist before a soldier, but under both guises, he was persuaded to do things he’s not proud of.  Yet for all the impressions he gives of cynicism and regret, it’s not lost on you that he continues his mission as he broods, leading you to believe he may not be capable of truly feeling those emotions anymore.

Uncanny X-Men #159 – Flash back review

By: Chris Claremont (writer), Bill Sienkiewicz (pencils), Bob Wiacek (inks), Glynis Wein (colors) & Tom Orzechowski (letters)

The Story: Dracula wants Storm for his bride…

Flash Back Review: As any comic fan knows, the X-Men are currently having a bit of a problem with vampires.  I’ve seen a lot of moaning on message boards about how tacky this is of Marvel and how it’s obviously an attempt to jump onto some of the current popularity of vampires (see: True Blood and Twilight).  That may be true, but this is hardly the first time the X-Men have had to deal with vampires.

I’d ask you to take a trip down memory lane to Uncanny X-Men #159 which was published in July of 1982.  Comics were still 60 cents, the #1 song in the United States was “Don’t you want me” by the Human League (which is now stuck in my head) and Chris Claremont still had his 98 mph fastball (instead of the old junkballer he has become).  In terms of the X-Men, this was early enough for them that Rogue was still a bad guy and they had never encountered the Brood.  In short, it was a long time ago.

This issue tells a self-contained story of the X-Men venturing into the city so that Kitty could hang out with her parents for the weekend and the plan was that the X-Men would crash at Misty Knight’s pad for the weekend.  Of course, being the X-Men they travel in full costume and blast into Misty’s place in style: Nightcrawler “bamfs” in, Kitty phases through the wall and Wolverine has his claws popped.  After Misty’s startled roommate changes her pants (just kidding….there is no spoiling of pants in this issue), Kitty and Storm change into street clothes and head off into the night.

Of course, the night doesn’t end well for Storm as it appears that she is mugged and has her throat slit after leaving Kitty with her parents.  Claremont lets this mystery swirl as we get page after page of Storm becoming a creature of the night: light sensitive, aversion to religious symbols, wearing a scarf from an “admirer” with a big “D” monogram… Hmm…What sort of mugger could it be?

Not only was it a vampire, it was Dracula himself!  Once the true evil is revealed, what follows is a pretty standard effort by the X-Men to save Storm from this psychological hold that Dracula holds over her.  However, Dracula is not defeated by the might of the X-Men, instead he bows out after being so impressed by the sheer nobility of Storm that he cannot force her to become his bride against her will.  The end!

This is far from the best story of this era.  A few issues earlier, and we have the classic Days of Future Past storyline.  A few issues later and we get the Brood saga that holds a place in my heart because that was when I started buying Uncanny at the gas station.  Then again, the Days of Future Past single issues are going to set you back $40+ each whereas you can buy Uncanny #159 for about five dollars.

Wonder Woman #600 – Review

By Gail Simone (writer), George Perez (pencils), Scott Koblish (inks), Amanda Conner (writer and artist), Paul Mounts (colors), Louise Simonson (writer), Eduardo Pansica (pencils), Bob Wiacek (ink), Geoff Johns (writer), Scott Kolins (art), Michael Atiyeh (colors), and J. Michael Straczynski (writer), Don Kramer (pencils), Michael Babinski (inks)

The Stories: Gail Simone (yay!) gives us a nice story about a team up between Diana and most of the other female DC heroes (including Kate Kane’s Batwoman—double yay!), Amanda Conner gives us a fluffy but fun vignette that has Diana helping Power Girl to solve a…relationship problem, Louise Simonson tells us about a disasters nearly averted as Wonder Woman teams up with Superman to take down Aegeus, Geoff Johns (yay again!) gives us a very nice, very classic-feeling Wonder Woman tale that ends up being a prologue to…

…the Big One. Straczynski and company attempt to reinvent everything, from Wonder Woman’s costume to her attitude to her origin, to he very timeline itself. How do they fare? Read on.

The Review: We’ll get to the elephant in the room in a moment, but let’s focus on the non-JMS stories first. They’re all good, mostly because of the caliber of creators (especially writers) they pulled in for this issue. Johns’ story was easily my favorite (full disclosure: I’m a completely unapologetic Johns fangirl, so your mileage could vary), both because of the excellent writing and the story itself (short though it was.) I just love the added meaning he endows the “wonder” of Wonder Woman with. It’s not the first time it has been done of course, but Johns works it in very quietly and elegantly, without overemphasizing it or beating us over the head. I appreciate that. All of the vignettes were worth the time I invested in reading them, honestly; even “Fuzzy Logic,” my least favorite of the group, was harmless enough. It was a bit too cute for my taste, but it really does emphasize that there’s a Wonder Woman story in this issue to suit every kind of fan.

Now, on to ”Couture Shock.” I hate to start off with a complaint when there are a lot of good things to say about this story…but ugh. Worst. Pun. Ever. Yes I know it’s a reference to the new costume, but still. No thank you. It’s just BAD. With such major changes being made to such an iconic character, I really would have appreciated a title that was a little less flippant. Maybe I’m being oversensitive, but it really feels rather disrespectful, especially given how…we’ll say “passionately,” fans tend to react to changes of this magnitude. (Just titling it plain ‘ol “Culture Shock,” while generic, would have been plenty serviceable, and preferable in my opinion.)

Adventure Comics #5 – Review

Superboy Prime Story by Geoff Johns and Sterling Gates (writers), Jerry Ordway (artist), Bob Wiacek and Jerry Ordway (inkers)
Superboy Backup Story by Geoff Johns (writer) Francis Manapul (artist), Brian Buccellato (colorist)

The Story: Superboy Prime fights a bunch of zombies through the offices of the DC editors and creators. Alex Luthor teleports the whole donnybrook back to Superboy Prime’s basement where the climax occurs in blackest night fashion. The backup features our black-shirted Superboy who gets himself in trouble when he goes after a most charming vandal.

What’s Good: Ordway on art, especially with Wiacek, is a great treat, and he caught the flavor of blackest night with moody effects, black-costumed zombies, and the colored emotions. You can also tell that they had a good time drawing about twenty of the DC staffers in various states of shock. On Manapul’s side, the art is evocative and powerful. And he draws a mean Krypto, expressions and all. Manapul manages the expressive faces, those startled reactions and the arriving menace.

On plotting and story, blackest night looked at one of the least sympathetic characters in the DCU and put him through his own grinder, making him find a solution to the blackest night problem unlike any other’s so far. On character, both Clark (Prime) and Conner’s stories are about their feelings and how they fit into the world. Both stories are effective as character pieces.

What’s Not So Good: The tactical choices in these two stories were fine, but where the book fell down for me was on the strategic choices: using Superboy Prime and the whole metafictional angle. Superboy Prime really is the Jar Jar Binx of the DCU. He’s unsympathetic and whiny and it’s difficult to watch him do anything because I didn’t care about him at all. You have to be able to root for someone in the story, or at least sympathize with someone actively trying to accomplish something. Superboy Prime is craven, and in my opinion, even at the climax, unheroic, and is no fun to read.

The Justice Society of America # 28 – Review

By Jerry Ordway (writer and artist), Bob Wiacek (colorist)

The Story: The Spectre takes Power Girl, Judomaster, Atom Smasher and Damage into the past to find Kung, who has kidnapped Green Lantern, the Flash, Wildcat, Hourman and Liberty Belle. In the meantime, Kung’s captives are way too close to a nuclear explosion. Green Lantern barely saves them, but something much worse soon comes after them. The Spectre brings the two halves of the team together and then it’s everyone against Kung in a race to the finish.

What’s Good: Jerry Ordway draws a great Justice Society. The cover is representative of the kind of great art you’ll find inside. The eerie light around the Spectre, the glow of Stargirl’s scepter, and Kung in his giant dragon form are fantastic. The poses and faces are natural and Power Girl is not overdone.

Ordway’s writing was more solid in this issue as well. The explanation of the background was smoother in this issue than in the last and the dialogue felt natural. I also loved how the Spear of Destiny and the Holy Grail were used in the plot, something drawn from Ordway’s deep experience with the golden age. Lastly, I liked a scene at the end where something clandestine is going on with the older guys (Green Lantern, Flash, Wildcat) protecting Stargirl from a first romance with Albert. I want to see where Ordway takes this particular conflict, because status quo isn’t going to work.

What’s Not So Good: There is absolutely nothing to complain about in the art. On the writing, there were a few wobbly moments or lines, but overall these were minor problems. My two major beefs with this book were structural.

Firstly, with a team of this size, it is inevitable that some characters will be backbenchers, and some will be spotlighted. However, I thought that jamming together eight heroes and the Spectre against Kung left the me with so little time to appreciate anyone that the story felt almost superficial. There was a lot of emotional tension to be wrung out of this story, but the amount of characters prevented a deep look into any one. Same for the action. Everybody has a chance for a couple of shots, but no knock-out punches.

Secondly, the Spectre is so powerful that some of the story felt like Deux Ex Machina. I wondered at the end if the Spectre had even needed the JSA. Damage and Green Lantern landed a few solid blows, but I see no reason why the Spectre couldn’t have gotten the same result on his own. This left me a bit unsatisfied.

Conclusion: The art is great and the writing was more solid, but this book is still far from a must-read.

Grade: C

-DS Arsenault

The Justice Society of America # 27 – Review

By Jerry Ordway (writer and artist), Bob Wiacek (colorist)

The Story: Atom Smasher is wallowing in his sorrows in a bar when he’s called out by Stargirl, and told how Obsidian has gone weird, and has taken Green Lantern, Wildcat, the Flash, and Liberty Bell hostage. They then head to the mansion, and as it turns out Obsidian is just trying to protect the hostages, but people don’t believe or trust him yet. There’s talk of ghosts and then outside, something jumps into Stargirl through her Cosmic Rod and possesses her. Then, things get much worse.

What’s Good: Ordway’s classic art is always a treat. He knows what the JSA is supposed to look like and it shows. His characters, even relaxed, look dynamic, but not artificially so. Ordway has also always been really good at texturing and shading with very fine lines. From the smallest details of each character’s costume, to the splash page of the Spectre, Orday’s art doesn’t disappoint.

What’s Not So Good: It’s sad to say, but I’ve always liked Ordway as an artist, but never as a writer. The plot was pretty convoluted and hard to follow. It seemed like it was edging towards the old “idiot plot” where most of the problems of the story would have been solved if the characters had just calmed down, talked to each other and worked together.

The individuality of the characters also never came into focus for me (something the best writers can do). I couldn’t figure out why they were so angry, argumentative and sarcastic. Yes, conflict between characters can create a dynamic scene, but if you don’t do it right, it comes off as contrived.

Furthermore, the villain’s dialogue was really cheesy. It’s a pretty basic rule that villains do not perceive themselves as villains, but this surprise villain dropped some ridiculous lines about not being able to put aside his anger or thirst for vengeance. It didn’t get any better when he said “…allow me some theatrics, won’t you?” No. Sorry. Readers won’t. Whenever a writer can’t maintain the suspension of belief, or can’t deliver something that we can imagine might be real if the laws of the world were different, then the reader puts down the book.

Conclusion: Strong art, but weak writing. I wish I could recommend this book, but I can’t. If this is what the next five or six issues are going to be like, I might think about dropping JSA from my list.

Grade: C-

-DS Arsenault