Panel Discussion
"MIDWINTER MISCELLANY"
Copyright © 2005, Rick Silva
This installment covers a whole range of things from current mainstream releases to indy books to some vintage issues. Books reviewed here include a few leftovers from last fall's SPX, some books I picked up at the recent Big Apple Convention, as well as some finds at a local flea market and various comic shops.
Atomik Angels #1 (Crusade, 1996): I really wasn't sure what to make of this. You've got a bunch of odd corporate sponsorships involved with the book, so things like the USS Intrepid Museum and AMA Pro Racing get worked strangely into the plotline. There's also a an appearance by Freefall from Gen13, plus a convoluted plot involving a takeover of the Empire State Building and a group of scantily-clad super-heroines who train in a Danger-Room knock-off on a secret deck ofŠ You guessed it: The USS Intrepid. About the only thing interesting here was the villain, who actually has an interesting tactic where the police can't tell which people are hostages and which are in on the takeover. But one clever idea does not a story make, and the rest of this book adds up to a big pile of "Huh?". [3 out of 10].
Babalon Babes #1 (Witches Brew Press, 2005): This is a sketchbook, rather than an actual comic. That being said, Michele Witchipoo does some very nice work here, mixing erotica with mystical symbolism. The illustrations are nicely detailed, giving them some appeal beyond the obvious eye-candy. The one actual comic strip here was rather hard to follow, and some of the layout choices seemed odd, but overall this is a nice little collection of well-crafted artwork. [6 out of 10].
Batman #630 (DC, 2004): The Scarecrow has mutated into a venomous monster and has tracked the Batman back to Wayne Manor for a final showdown. Lots of action and a great cover, but the thing that really stands out here is the continued revitalizing of the Penguin as a villain. Also introduces a new villainess called Fright. [6.5 out of 10].
Batman: Legends of the Dark Knight #151 (DC, 2002): Mother Grimm has created an underground refuge for abandoned and abused children, and she's added Robin (Dick Grayson, age 11) to her collection of possibly unwilling refugees. In the meantime, the Batman is a prisoner of Mother Grimm as well, battling his inner demons while drugged with hallucinogens. The best part of all of this is that Grimm makes a fairly convincing case that Robin is abused and exploited by the Batman. The whole thing is nicely narrated by Robin, but it comes apart a bit with a confusing chase/fight/betrayal sequence at the end. Then redeems itself with an absolutely awesome final panel that pays subtle tribute to the Batman origin. [6 out of 10].
Blood Syndicate #16 (Milestone, 1994): In an effort to make the Milestone books have an "urban" feel to them, we have a bunch of characters with mouths like sailors. But since the book is still Comics Code Approved, we end up with a very liberal sprinkling of curse-marks. And this is supposed to pass for "realistic dialogue"? This also suffers from the same "scorecard-needed" problem that a lot of super-team books do when they create the whole team from scratch. And as if those problems were not enough, the writers are here faced with the unenviable task of shoehorning the plot into a rather silly and unwieldy DC/Milestone crossover. In spite of Superman's prominent placement on the cover, he only appears for the last couple of pages and really doesn't do much beyond the standard "mistake the good guys for bad guys and start fighting" routine that we've all seen about a zillion times. There are some good quiet moments here, and the writers do the best they can with having the characters respond logically to the sledgehammer of bad plot that is necessary for the crossover. Unfortunately, they're fighting an uphill battle against too many bad elements. [3 out of 10].
Catwoman: When in Rome #1 (2004, DC): Starts out with an extended dream sequence that re-treads a lot of the same old formula about Selina's early relationship with the Batman. Excellent visuals, but I was at a loss for how this part contributed to the story. The writing picks up some momentum once the actual plot gets rolling, and Selina's dialogue is spot-on throughout. Good use of the Italian setting and of several other members of the Batman rogues gallery. [6.5 out of 10].
Detective Comics #480 (DC, 1978): A simple-minded high school outcast is surgically enhanced to become a perfect fighter and manipulated into a deadly battle with the Batman. Story is a real downer, dramatically told, but with an ending that is plain depressing. The Hawkman backup story features Hawkman vs. the Pied Piper and is basically just dull filler. [4 out of 10].
Detective Comics #497 (DC, 1980): Cover is amusing, but misleading, showing Batgirl in a jail cell accused of murder while the Batman, Robin, and Commissioner Gordon look on (and even at a few feet away, Gordon apparently can't recognize his own daughter in a mask; *sigh*). Anyway, that bit never actually happens in this issue, although the backup story, which has Barbara Gordon framed for murder in her civilian identity, is at least in the ballpark. The main story is actually a nice little noir piece starting with a wounded Bruce Wayne stumbling into a cheap Mexican hotel full of desperate characters and losers looking for one last break. The backup story is standard detective fare, with Barbara in a race to find out who is trying to frame her before the law closes in. [5.5 out of 10].
Femforce #119 (AC, 2003): Absolutely wonderful pulp-style painted cover by Ed Coutts has Blue Bulleteer being chloroformed with Miss Masque and Rio Rita bound and gagged in the background. Four features here. First up, fun little noir-style adventure that pits the girls from the cover against a mob-run white slavery ring. Then we get a reprint of a quickie Miss Victory story from the '40s with the heroine breaking up a sabotage plot at a factory. Next is a humorous adventure with Yankee girl. Best line of the issue comes from a security guard who had kept Yankee Girl waiting in airport security: "Who can keep up with all the super-heroines in this state?" Finally, a chapter in a serial text feature involving a parallel dimension. Complicated, but well-written. As always, AC brings the fun and the cute heroines, and the nostalgia. Nothing profound here, but it all works reasonably well. However, the $6.95 cover price is a little ridiculous for what you're getting. I realize that AC doesn't have the printing capabilities of the major publishers, but this is a b/w book. Plenty of indy companies out there have managed to put together books of this quality or better (some in color!) for half the price. [5 out of 10].
Ghost Fighter #1 (Superhuman Works, 2004): In Egypt, a mysterious artifact is uncovered that appears to be of extraterrestrial origin. Meanwhile in New York, a TV news crew has followed a group of robbers to a dark warehouse where they encounter a mysterious gunslinger. Not much in the way of explanation, but the story is paced nicely with excellent art, good layouts, and dialogue that gets the job done. A good start. [6 out of 10].
Green Arrow #18 (DC, 2002): No frills here. The ENTIRE issue is an extended fight scene between Ollie and Solomon Grundy with Ollie's narration in captions. Decent for what it is, with an impressive painted cover by Matt Wagner. Interior art is clearly animated-series-influenced and it works well with an outrageous character like Grundy. Cute joke bit has the book's credits done in Grundy-speak. [6.5 out of 10].
Green Arrow #45 (DC, 2005): Mia Dearden dons the Speedy uniform to become comics' first HIV-positive superheroine. The issue basically is divided into two parts, first a well-drawn if somewhat over-written sequence that has Mia giving a talk about her condition to students at her school. This was my first introduction to Mia, and she comes off as likeably as a character can when the use of a prepared speech is an excuse for exposition. This was then followed by a confrontation between Ollie and Brick, who has a ton more personality as a villain than he has any right to. In fact, his dialogue pretty much steals the show in this issue. The fight scene that results, however, is simply dull as Ollie cheats to win against the invulnerable Brick. Issue ends with the acceptance of Mia as official sidekick. Cover does a reasonable job of showing off the new Speedy costume. [5.5 out of 10].
A Gryphon's Tale #1/2 and The Burning Man #1/2 (Luna Tales Publishing, 2000): A flip book introducing two titles. Ethan Slayton's A Gryphon's Tale suffers from some technical problems in the printing process that gave most of the pages a very faded look (not sure if this was just in the copy I bought or in the whole print run). Story involves two friends, an elf and a human, recounting a tale from their youth. Setting is generic D&D-style fantasy, but the characters are good, and the story has some nice details to it. Stephen Clem Jr.'s The Burning Man is fairly minimalist, recounting a bit of the main character's origin story in an apparently post-apocalyptic setting. The narration seems a little stilted, and there just isn't enough plot given here to really get a grasp on what's going on. Artwork is solid, but the attempt to get me curious for more by leaving so many unanswered questions fell flat. [4.5 out of 10].
Guy Gardner: Warrior #34 (DC, 1995): This went HOW many issues? Okay, I don't like Guy Gardner, I don't like Lobo, and Wonder Woman (who has her moments) is badly misused here. So we're off to a bad start. Or rather, a bad conclusion, since this ends the "Way of the Warrior" crossover event, which seems to have existed basically so that heroes can behave more violently than usual with the convenient excuse that they are inflicting said violence on alien monsters rather than people that the reader might sympathize with. Dialogue is loaded down with clichés and fight scenes are near impossible to figure out as hordes of aliens are massacred in what is supposed to be somehow grim and fun at the same time. It's neither. [2 out of 10].
Heroes in Birmingham (Best Friends Productions, 2005): In a post-apocalyptic world where corporate-sponsored costumed adventurers provide entertainment for the masses, a would-be hero tries for a second chance. Complex storyline with an interesting mix of characters and a sprinkling of humor. Artwork is very detailed, but can be hard to follow in a couple of places. A good start overall. [6.5 out of 10].
Identity Crisis #6 (DC, 2005): Starting off with the death of another supporting character, this issue plods through a whole bunch of not much. A shocking secret from the past is really only a big deal because it involves one of the "Big Three" in the DC universe (Superman, Batman, Wonder Woman). Basically most of this feels like a re-do of issue #1, right up to the final revelation, which will in turn lead to the SHOCKING SWERVE in Issue 7. Nothing to see here, folks. Move along. [3 out of 10].
Identity Crisis #7 (DC, 2005): Thus ends DC's epic 4-issue crossover that the editors for some reason decided to drag out for an extra three issues. The "solution" to the mystery, is a total cliche, and a sexist one at that, and even a ton of nice little touching scenes and clever details can't save it. There is a satisfactory conclusion here (although there are still some gaping holes in the logic), and the stage has been set for some reasonably interesting repercussions in the DC Universe, particularly in the Bat-titles. They've managed to kill of some supporting characters in fairly memorable ways, introduce a few new villains, give some new life to a few old villains, and left open the possibility of a full-blown heel-turn for a longstanding hero. Remove issues 3 and 6 and trim about one issue's worth of crap out of the series, and they might have had something here. [4 out of 10].
The Madcap Misadventures of Magnificent Mervin #1 (Matt Henderson, 2004): Photocopied half-sized mini. This is a collection of short humorous pieces, mostly featuring the title character. Art is sketchy to put it kindly. The jokes are inconsistent. There were some good laughs, but not enough. [4 out of 10].
Manhunter #1 (DC, 2004): Prosecutor Kate Spencer is the new Manhunter, taking on Copperhead in her first mission. Very bland. Seems like they're going for the feel of a DC Universe version of "Law & Order," but without the complexities that make that show interesting. Copperhead clearly deserves to die, so when the law doesn't get the job done, the new Manhunter takes the law into her own hands. Been there, done that. The lead character's major quirk seems to be the fact that she's a chain smoker, something that will only be interesting if it leads to her losing fights when she starts getting out of breath. She also seems to be pretty inexperienced in using the Manhunter gear, but not quite enough for it to actually give her any serious problems this issue. To make matters more annoying, she resorts to Spider-Man style wisecracks in the middle of what is supposedly her first fight. Sloppy, uninspired, and unoriginal. [2 out of 10].
Robin #91 (DC, 2001): Huge schmozz. Where to start... Well, Robin is trapped in the midst of an internal power struggle within the Kobra organization in their secret lair. There's a Lazarus Pit, and a giant robot, and zillions of generic minion-types, and did I mention lots of mayhem? There's actually a very clever fight scene between Robin and King Snake sandwiched inside this mess that almost makes the thing worth reading. The rest could have used some serious trimming down. [4 out of 10].
Robin #95 (DC, 2001): This is part of the "Joker: Last Laugh" crossover. Robin is presumed dead, and the Batman, Nightwing, Spoiler, and Huntress are headed for a final confrontation with the Joker. Cameos abound in this one, with appearances by Blue Beetle, Oracle, Killer Kroc, and others. Some good moments too. Even given the grim history involved, this storyline doesn't take itself too seriously, and the writing is tight enough that it never loses focus in spite of all the characters involved. Especially good is Rancor, a sort of "Joker Junior" who gets some excellent moments including an interesting little opening bit for the book. It may not be the next Batman: The Killing Joke, but this issue holds its own as a nicely crafted adventure. [6 out of 10].
Sabrina: The Teenage Witch (Archie, 2004): It's Halloween Party time! Who will be Sabrina's date? No, really. That's what the cover says. For those who haven't been following Archie titles, Sabrina is one of the new Archie Manga line, with writing and art by Tania Del Rio working in a shoujo style. The result is a bit more hip and stylish than you'd expect out of an Archie book. Storyline is heavily influenced by Harry Potter, but it flows very nicely, and there's some decent depth to the characters, especially Gwenevive, a witch wanabee who somehow acquired real powers. This was an all-around pleasant surprise. [7.5 out of 10].
Spawn #31 (Image, 1995): Spawn returns to New York (symbolized by an unintentionally disturbing panel of Spawn looking up at the Twin Towers) and reunites with old friends while the forces of Heaven are plotting against him. Ends with a battle between Spawn and Redeemer. Fairly typical Spawn stuff. Visually attractive; a bit too wordy. [6 out of 10].
Stormwatch #0 (Image, 1993): Way too many blatant attempts to out-X-Men the X-Men here, including a "danger room" and characters whose powers are just like certain mutant familiar abilities only "improved". This still holds together better than a lot of early Image superhero books (I could actually follow the plot, and I could mostly keep the characters straight). Artwork is standard '90s Image fare: Big explosions, big guns, big muscles, and women with bigŠ Well, you get the idea. Effective for what it is, the main problem here is that the bar is set really low. We basically have a competent effort at telling a very unoriginal story. [3 out of 10].
Superman: Day of Doom (DC, 2003): I never really thought the Death of Superman storyline lived up to its potential, so I have to admit some skepticism picking up a book that is largely a recap of that storyline. However, if you're gonna try to make something seem special, Dan Jurgens pencils inked by Bill Sienkiewicz is a pretty decent way to start. Story follows a new Daily Planet reporter who gets assigned the front-page piece commemorating the death of Superman. He's new in town with no particular connection to Superman and little interest in doing the story besides the obvious prestige of a front-page spot, but he gradually begins to understand the intense emotions surrounding the event as he talks to people who witnessed it. Appearances by Booster Gold and Blue Beetle. Story makes the best of material that was less than stellar to begin with, and the art is tremendous. Worth a look. [7 out of 10].
Underlords #1 (Eidolon Studios, 2005): Starts with a LOT of exposition and doesn't hit its stride until the action gets going. From there, this SF/fantasy story about a race of super-powered "Lawkeepers" of the galaxy. This has very much the look of one of the early Image team books, and suffers from the same problems. Too many characters introduced too fast, and everyone seems to be on a near godlike power level. What it has going for it is excellent full-color artwork, and good sense for action sequences, and a very rich background, which will provide a lot of depth as the story unfolds. [5 out of 10].
Panel Discussion Stats