Superman #709 – Review

By J. Michael Straczynski and Chris Robertson (writers), Eddy Barrows and Allan Goldman (pencils), J.P. Mayer and Julio Ferreira (inks), Rod Reis (colors), John J. Hill (letters)

The Story: Superman is still down in the doldrums (yes, still. Only a few more issues to go, folks!), and Lois isn’t returning his calls. Fortunately, Flash shows up and injects a little excitement–and Kryptonian history–into the mix.

What’s Good: I really liked the art in this issue. Barrows and Goldman make a great team that results in a vibrant setting and beautiful characters (especially Flash…Superman himself sometimes suffers from a lack of facial detail in longer distance shots). Besides, I’ve always been a fan of the Superman/Flash races, and this book has a couple wonderful homages. (Although, I’m firmly in the corner that Flash should ALWAYS win such contests; after all, Superman has powers to spare, and Flash deserves to be the best he is at what he does.)

Also: Wonder Woman undergoes no character destruction in this issue. That’s a plus.

What’s Not So Good: I said it last month, and it’ll probably be said next month, but…this storyline is still going nowhere. “Superman goes through a midlife crisis” is NOT a good story arc idea. Especially not a year-long arc. I do realize that the character has been through a lot (as Flash addresses in this issue), and that it should be addressed. But, although the conversation between Supes and Flash is well written and interesting enough, all I can think about is how long it is til this story finally ends, and he can go back to being HIMSELF. Introspective, brooding, Byronic heroes are great…but if I want that, I’ll go read about Morpheus, or Batman, or Moon Knight. When I pick up a Superman comic, I want to read about Superman– the bright, strong, self-confident hero that is their antithesis.

Superman #708 – Review

By J. Michael Straczynski (plot), Chris Roberson (script), Eddy Barrows (pencils), J.P. Mayer with Julio Ferreira (inks), Rod Reis (colors) and John J. Hill (letters)

The Story: The “Superman Squad” arrives from the future to convince the original Superman that he is, in fact, important, and that his heroics do actually help people. Also, Wonder Woman shows up and learns an important lesson.

The Objective Part of the Review: The Grounded storyline continues, and becomes more convoluted and confusing in its purpose than ever. Wasn’t Supes’ purpose in this whole exercise to reconnect with America and the common man? So why does he spend most of this issue jumping through time and navel-gazing (with the help of some quite clunky and badly-integrated exposition from the Superman Squad)? I thought this storyline was about Superman and the people he loves and works to protect. So either I completely misunderstood the point of this year long story arc, or the arc itself has been completely derailed and/or misunderstood in the wake of its creator’s departure.

In spite of the feedback I’ve gotten on my opinion on the artwork for this book, I continue to enjoy it. Is it the best ever? No. But I continue to contend that the basic nature of the geometry and bright, bold colors fits Superman’s world quite well. It would be improved (and look less like a “kid’s” comic book) if the pencil work was more carefully detailed, but overall the effect is a good one, and suits the nature of the book well enough.

The Fangirl Part of the Review: Fair warning on this section: this is my personal reaction to the book as a huge Wonder Woman fan, and has nothing to do with the writing, art or other creative aspects of the book addressed above. That said:

SHAME on you, Joseph Michael Straczynski.

So you decide to give Wonder Woman a confusing, yearlong, semi-out-of-continuity (?) reboot. And a new, ‘gritty update’ style costume. Okay. I can live with that. As a Wonder Woman fan, I’ve certainly been subjected to worse. I can roll with almost anything, at this point, and still find enjoyment in the character and the tale. What I absolutely CANNOT abide that takes place in this issue is twofold:

1) You put a big, HUGE moment for Wonder Woman—quite possibly the single biggest character moment in her entire year long arc, since this is apparently the moment she, you know, DECIDES TO BECOME A FREAKING HERO—in a book that is not hers?! What on god’s green Earth convinced you even momentarily that that was a good idea? Do you realize what a betrayal that is for people who have loyally followed the Wonder Woman book through this reboot arc, and have been eagerly awaiting the big hero-realization moment? I understand that you were supposed to write both books through both arcs, and that a crossover probably made sense at that time. I have no objection with the crossover itself. But to put THIS moment in a book that is not Wonder Woman is a terrible, terrible thing to do to her fans.

2) Location (I reiterate: in the WRONG BOOK) of the biggest Wonder Woman moment to date aside, the execution. Good lord, the execution. Superman gives her the impetus to become a hero? Really? She couldn’t have figured that out without him? She couldn’t have followed her own heart and conscience and compassion (arguably the strongest aspects of Diana’s character) to realize that, maybe using her powers to help people MIGHT be a good idea? She couldn’t have been inspired by her fellow Amazons, or maybe some heroes from Greek mythology? ANYTHING besides randomly running into Superman (while apparently taking a break from the Earth-shattering issues going on in her own storyline) and realizing that, durrr, maybe people with heroic-like powers should actually, y’know, BE HEROIC. Not only that, it sets her very, very apart as a (supposed) member of DC’s Trinity. She should be (and has been, til now) Superman and Batman’s PEER, not their wide-eyed apprentice or sidekick.

Superman #707 – Review

By J. Michael Straczynski (plot), Chris Roberson (script), Allan Goldman (pencils), Eber Ferreira (inks), Marcelo Maiolo (colors) and John J. Hill (letters)

The Story: Superman continues–still–his trek across the U.S. While keeping himself busy assisting with everyday emergencies in a small town, he discovers a factory that is in danger of exploding. When Lois shows up to write a story about how the factory heads have been dumping chemicals into the local ground water, Superman must weigh the cost of the truth against the jobs of thousands of innocent people.

What’s Good: Great news! For the first time in half a year, reading a Superman comic didn’t piss me off! I know, I was shocked too. But it’s true: while not stellar by any means, this issue is at least decent, competent, and refrains from being insulting or completely and utterly trite. Better yet–and I can’t stress this enough, for the first time since the storyline started–it actually delivers on the premise that the entire storyline is built around: Superman is actually in a town, talking to people and helping them solve actual, basic problems.

My favorite part of the whole book–of the entire storyline so far, really–is the scene with Superman putting out the factory fire. The self-narrating he does, explaining his actions, thought process and the powers he uses to save the day, has a wonderful Golden Age flavor to it that had me smiling the whole way through. Most fun I’ve had reading Supes in quite some time.

Superman #706 – Review

By G. Willow Wilson (writer), Amilcar Pinna (artist), Rod Reis (colors) and John J. Hill (letters)

The Story: In a story that would have been almost passable, say, a decade or so ago, Daily Planet Editor-In-Chief Perry White discovers that *gasp* there’s a website making claims that the Planet bribes Superman for all the exclusives they get! And what’s worse, the site is about to break the even BIGGER news that Superman and Lois Lane are in a secret, illicit relationship! It’s up to perpetual whipping boy Jimmy Olsen and his amazing powers of detecting a bad Photoshop job to save the day!

What’s Good: Well…the cover is nice I suppose? It’s really more of a Batmanesque image, really, but it’s still neat.

Hmm…what else….what else…I’m still liking the colors on this book. Although we still have something of an odd purplish skin tone for the characters on a few pages, overall I still think it’s very good work, and fits the bright, shiny nature of Superman’s character in the same way that Batman’s dark, brooding shadow-filled Gotham fits him.

What’s Not So Good: Good grief, what can I say about this issue? I’ve been doing my very best to defend at least the concept of the Grounded storyline, if not its execution, but there’s not much redeeming about even the premise of this interlude. Rather than ranting in paragraphs (which could well go on for pages), let’s boil it down to a simple, numbered list of complaints:

1. The concept. Not that The Daily Planet coming under public scrutiny/fire is a bad idea for a story. It’s really not. But you’ve GOT to do more than phone in a 32-page after school special about the dangers of ‘trusting unverified internet sources.’

Superman #705 – Review

By J. Michael Straczynski (writer), Wellington Dias and Eddy Barrows (pencils), J.P. Mayer with Eber Ferreira (inks), Rod Reis (colors), John J. Hill (letters)

The Story: Superman encounters a very young, very special fan who needs rescuing from an all too ordinary villain.

What’s Good: JMS writes the character of Superman well, I’ll give him that. Not that Supes is the most complicated character in the comic book pantheon, but JMS gives him a strong and suitably wholesome voice. He writes Superman’s young fan suitably sympathetic as well—again, not the most difficult of authorial tasks, but it works well within the story.

I’m digging the artwork, especially Rod Reis’ colors. The pencil work walks a fine line between trying to look realistic while still maintaining the fanciful, slightly cartoony look that serves a character like Supes so well. The colors contribute greatly, both by being visually appealing, and by maintaining the upbeat, primary-color infused palette that is a Superman hallmark. In spite of their bold nature, the colors never become so oversaturated that they are overwhelming or distracting.

What’s Not So Good: So Supes looks like Supes, and he sounds like Supes, but here’s the problem: this story is not worthy of Supes. Now don’t take that the wrong way (small spoiler warning ahead); domestic violence, and ESPECIALLY child abuse, is very serious, and nothing to belittle. In fact, it’s exactly the heinousness of the offence that makes it so maddening here, to see it used for nothing but cheap and ham-fisted emotional manipulation.

I’m already on the record as saying that I like the entire concept of this story arc, and I still do. Superman taking some time off from world-saving to reconnect with his human side is a great idea. And if handled well, this sort of domestic violence plot, while a tad cliché, still seems like a natural sort of every day problem for Superman to solve.

Except, the whole arc—and this issue in particular, which finally made me lose my patience with the whole thing—is not being handled well at all. Where the book’s art strikes a nice balance between realism and cloying cartoonishness, the writing takes a flying leap off of that balance beam. None of the supporting characters have any development at all beyond their very basic archetypes—the cute kid, the abusive father, and so forth. It’s grating, juvenile and insulting.

Conclusion: I came into this arc loving the concept, and wanting to like it in the worst way. I gave JMS every benefit of the doubt (see my review of #702), but I have to draw the line somewhere. Putting Superman in an after school special about why it’s EVERYONE’S responsibility to prevent domestic violence is ridiculous, does nothing to further the character, and does nothing to help achieve his set goal of reconnecting with humanity. While it’s hard to argue with the overall message of the book—beating your kid is bad, yo, and you should tell someone if you see a child getting slapped around—is hard to argue with, the insultingly ham fisted and sanctimonious way in which it’s delivered is just too much.

Grade: C-

-SoldierHawk

A SECOND OPINION

Superman #703 – Review

By J. Michael Straczynski (writer), Eddy Barrows (pencils), J.P. Mayer (inks), Rod Reis (colors) and John J. Hill (letters)

The Story: Superman continues his flat-footed journey of reconnection with the common man, but is interrupted first by Batman, and then by a common man who has quite suddenly gained some very uncommon powers…

What’s Good: The first good news to report is that the dialogue has been toned down quite a bit, and that’s for the better. Instead of being completely over the top aw-shucks-gee-whizz-jes’ folks hokey, the corn factor has been reduced to more manageable levels. Not soon enough, either. It’s all well and good to watch Supes interacting with everyday people; it’s quite another to watch him interact with a bunch of stereotypes.

The art team is doing some very nice work here as well. I especially love the bright, energetic colors Reis uses to bring Superman’s world to life. They’re warm without being sappy or overly saturated, and inviting without being saccharine. More even than the (quite cool) heroic poses Barrows gives Superman to strike, it’s the colors and the balance between them that sets this world’s tone and give it a smattering of verisimilitude. In the same way the right dark and shadowy art can make you believe (at least momentarily) that, yes, maybe someone like Batman could exist, Reis’ vibrant palette builds a world that allows for someone as good and pure-hearted as Superman to exist.

Time Bomb #2 – Advance Review

By: Jimmy Palmiotti & Justin Gray (creators & writers), Paul Gulacy (art), Rain Beredo (colors) & John J. Hill (letters)

The Story: A group of four secret agents is sent from the future into the past to stop the construction of a weapon that will kill the human race.

What’s Good: I loved issue #1 of this series and the story in this issue switches from the sci-fi elements (secret Nazi weapons and time travel) to a good old fashioned WWII espionage story as our group of four agents (I guess that’s what I’d call them) end up getting sent back to the latter parts of WWII to stop the creation of the Omega Weapon (that kills humanity in 2012).  I was impressed at how easily Palmiotti and Gray shifted from a pure sci-fi story in issue #1 to a more Inglorious Basterds story for issue #2 where our small group of 4 is isolated and without backup while on their secret mission.  If you liked Inglorious Basterds or recent comics like 7 Psychopaths, you’ll probably get a kick out of this issue.  There is lots of Nazi killing.

As a middle arc, this issue also has a purpose: to get all the pieces in place for the finale.  And it does that very well.  I am very eager to see how this plays out in the finale because our heroes have left quite a wake of dead bodies and I’m sure all that screwing with the timeline will have some repercussions in the “present” and we also have the issue of the scientist who created the Time Bomb being missing in the past.  I’m sure he has to turn up somewhere and that should be fun.

Superman #702 – Review

By J. Michael Straczynski (writer), Eddy Barrows (pencils), J.P. Mayer (inks), Rod Reis (colors) and John J. Hill (letters)

The Story: Superman continues his walkabout, getting a human’s-eye view of the country and its people and helping out when and where opportunities present themselves.

What’s Good: Full disclosure: Superman has never been my favorite character. I have nothing against the Man of Steel, you understand, it’s just that he’s always been too powerful, too omnipotent, too…perfect, I guess, for me to really identify with and enjoy. When I heard about the “Grounded” storyline, though, I knew I was going to have to check it out. It sounded exactly like the kind of story that would get me on board with a character like Supes, and so far it has not disappointed.

Issue #701 was a great introduction to the concept of the storyline, and #702 builds on that foundation very well with more quiet encounters with everyday folks from around the country. And if the everymen seem just a little overly saccharine and folksy at times…I’m willing to forgive that. It does get a little grating after a while—to my ear at least—but it does fit in to the quite Mayberryesque world that Superman inhabits. (Mayberryesque minus the occasional supervillian attack, of course.) This certainly isn’t the slam-bang-gee-whizz action I would usually associate with Superman, but both the character and the story itself end up better for that fact.

Blackest Night: Batman #3

By Peter J. Tomasi (writer), Adrian Syaf (artist), Nei Ruffino (colors), John J. Hill (letterer)

The Story: The Blackest Night in Gotham concludes, as the Flying Graysons are reunited, and it’s identity crisis all over again for the Drake family. As Dick and Tim are confronted by their deceased loved ones and forced to relive their tragic pasts, they must figure out how they can defeat these Black Lanterns. With the help of Deadman and DC’s favorite demon, Etrigan, the Wayne family continues to battle old familiar faces. 

What’s Good: Tomasi gives us a fast-paced, action-packed conclusion that delivers some pretty memorable entertainment. From Batman and Robin fighting off the Black Lanterns with their seemingly endless supply of firepower, to the emotional and haunting iconic moments these heroes have dealt with in the past, there’s just as much action to the moments we’ll always remember with these characters. Furthermore, along with all this excitement, Tomasi finds a way to fit in a logical and awesome team up with Etrigan.

As for the art, I would like to see Adrian Syaf become a regular artist for a Bat title. He provides the necessary cinematic action, through his paneling choice– carefully capturing and fitting the right moments in each frame, whether it be emotional or violent– and the detailed brutal blows our heroes deliver to their enemies. Just like Tomasi’s writing, Syaf’s art delivers in the entertainment and subtext departments. The images thrill and make us remember.

What’s Not So Good: Although Tomasi provides us an entertaining story, I can’t help but feel a little cheated with this series’ ending. It comes off as rushed and thoroughly thought through, as Batman’s discovery to effectively combat the Black Lanterns comes out of nowhere and accidentally. Or even, not exactly explained as to how he thought of that… Also I’m still disappointed that there was nothing in this mini series that spent any memorable amount of time on the possibility of the Wayne sons encountering Bruce. It was nice to see some of the Chris Yost Red Robin in one moment, but that was easily pushed aside as this series continued to turn its focus on Black Lanterns in Gotham. I suppose the Bat-fan in me is waiting a little too anxiously to see the real Batman come back.

Conclusion: Blackest Night: Batman concludes as a decent mini series that adequately accompanies the ongoing blockbuster. However, don’t expect much from this story as it’s no different from the basic Blackest Night side story; where a hero encounters a Black Lantern version of a loved one, and their minds and emotions are challenged and seduced into believing in them.

Grade: C-

-Ray Hilario