Freak Comics

A preview image of DC’s Brave New World has been floating around the interweb for a bit. Apparently some people are a little put off by the cover’s lack of diversity.

This is really amusing to me. It’s not the first time a comic has featured all / mostly white people on the cover. It’s certainly not the first cover to not feature a gay person. Case in point (Warning: the preceding link features a cover where the ratio of white people to black people is 30 to 0).

Now, if we’re going to point out the fact that there are no black people, gay people, bi-sexual, lesbian or transgenger people, you have to be fair to the other minorities as well.

Where are all the mentally handicapped people? Where are all the people in wheelchairs? Clearly DC is prejudice against the disabled. I don’t see one blind person on the cover! It’s obvious that the editors at DC want all non-white, non-american, non-healthy, non-heterosexual people to die and that is what this comic book cover is representing.

While we’re at it, let’s be sure to point out that there are no little people on the cover either. Also I don’t notice anyone who is missing a limb. I don’t see any conjoined twins. I don’t see anyone on this horrible neo-nazi-like cover who is overweight and I certainly don’t see any senior citizens. I see no children or babies either.

I think the solution to this problem is simple. Everyone should boycott DC Comics until they create and publish a comic book about a black, mentally retarded, gay, blind, wheel-chair-bound, armless, overweight, little person super-hero.

The Supergirl title has been steadily going downhill… no wait. That implies it was good at some point. Supergirl has sucked from the start. I’ve meant to remove it from my pull list for some time now, but instead I continue to forget and thus flush my money down the proverbial DC Comics Toilet.

Every single horrible issue of Supergirl has focused on her identity crisis in one way or another and it’s time to move on.
I have absolutely nothing good to say about this series. Each issue is a clone of the previous issues.

The art is crap too. Supergirl is freakishly out of proportion and unrealistic. To quote Rachelle Goguen:

“Supergirl looks like an anorexic blow-up doll with a torso that’s longer than her legs (which are also very long) and eyes that are bigger than her waist.”

Also her boobs look like they could stab someone’s eyes out.

And what’s with seeing how often Kara can get naked? Isn’t she supposed to be somewhere in the neighborhood of 15 years old? And if she’s 15, why does she look like a 22 year old out-of-proportion supermodel?

I think that DC honestly believes they are appealing to two demographics:
Pubescent teenage boys with super hero fixations, and girls. I would assume they’re hitting the first for sure, but the second? Does anyone truly think that stuffing an unattainable barbie-like plasticine nymph into a revealing costume sells merchandise?
There is a third demographic that DC is making sales to: lonely virgins ages 30 - 55 who teeter on the verge of pedophilia.

I don’t fit in to any of those categories, so why oh why do I even own this comic? It’s time to make the pain stop. I’m calling the comic book shop tomorrow and telling them to get it off of my list!

Update 01.27.2007:
I just found out that Mark Sable will be writing for Supergirl starting with issue #16.
He had quite a bit to say in response to Rachelle Goguen’s Eddie Berganza / Supergirl bashing article.
Curse you mark, you’ve sucked me back in!

World War 3 was briefly mentioned in the pages of Justice Society of America #1 and 52.
According to newsarama in week 50 (that’s April 18, 2007) of the comic book 52 World War III will hit. Not only that, but four WWIII one-shots will be released. They are as follows:

WWIII PART ONE: CALL TO ARMS
Writer — Keith Champagne
Penciller — Pat Olliffe
Inker — Drew Geraci
Cover — Ethan Van Sciver

WWIII PART TWO: THE VALIANT
Writer — Keith Champagne
Penciller — Andy Smith
Inker — Ray Snyder
Cover — Ethan Van Sciver

WWIII PART THREE: HELL IS FOR HEROES
Writer — John Ostrander
Penciller — Tom Derenick
Inker — Norm Rapmund
Cover — Ethan Van Sciver

WWIII PART FOUR: UNITED WE STAND
Writer — John Ostrander
Penciller — Jack Judson
Inker — Rodney Ramos
Cover — Ethan Van Sciver

I’m sure a lot of people will accuse DC of ripping off Marvel’s Civil War, however World War 3 sounds as though it is very different. In 52 the war isn’t the main focus, it’s just the climax of what 52 has been building up to, whereas Marvel’s Civil War is the main event.

this has been a really fun series to read. Seeing the Spectre hand out his own unique brand of vicious justice to the worst of the worst makes you wonder if Batman and the rest are going about their jobs in the wrong way… and that’s why I loved issue #4.
Batman makes an appearance to discover just what’s going on with all the strange murders and soon discovers, and confronts, the Spectre. I highly recommend getting in this series ASAP and starting at issue #1.

The History of the Justice Society of America

Way back in the Winter of 1940 the third issue of a comic book called All Star Comics was released. This comic book was published by All-American Publications who later merged with National Periodical Publications and became DC Comics. The book was meant to be a variety comic, featuring various characters and their adventures.

All Star Comics #3

After the third issue however, things changed. This issue featured a group called the Justice Society of America (JSA). It was a success and the variety concept was dropped. Heroes were no longer solo, were teaming up.

Eventually the JSA wasn’t as popular and was dropped. Years later DC modernized a few of the JSA characters (including Flash and the Green Lantern) and teamed them up with a few “new” faces such as Batman and Superman (who were only honorary members of the JSA). This new team formed the Justice League of America. In 1963 the Multi-Earth concept was introduced, (JSA existed on Earth-Two, JLA on Earth-One), which allowed for the original Justice Society to exist once more and even team up with the Justice League.

Fast forward to 1985. DC changes the multiple Earth concept to infinite Earths with the series Crisis on Infinite Earths, sparking a series that would change the DC Universe forever. These infinite Earths were eventually merged in to one Earth, allowing the original Justice Society of America characters to exist in the same dimension as the Justice League of America. In 1999 DC launched a series entitled JSA which ran until 2006 when the Infinite Crisis series hit.

In December of 2006 Justice Society of America was released. The following is it’s review.

Justice Society of America #1: a review

I sat on the couch staring at the stack of comics in front of me. A backlog of titles built of procrastination. Justice Society of America #1 was there at the top begging to be read, but I passed it up. I wanted to read about Batman instead. The JSA doesn’t have Batman. They don’t have Superman. they don’t even have the cool looking flash and green lantern. Instead they’re made up of characters who look nearly old enough to be my father. The Flash wears a British World War 2 helmet. Green Lantern wears a cape with a popped collar. Geoff Johns is the writer and from that I knew the issue had potential, but I just couldn’t force myself to pick it up. Until last night. Justice Society of America is now on my list permanently.

Although most of the issue is basically a reintroduction to the JSA and it’s members, it managed to be very entertaining. From the beginning of the issue where Mr. America finds his entire family murdered, to the cliffhanger conclusion, I was hooked. The dialogue is exquisite, each character truly has his own voice and the direction the story seems to be heading is exciting.
The art is well done also. Although I’m more of an Ed Benes fan, Dale Eaglesham’s style isn’t half bad either.

The Justice Society decides that they will be acting as just that, a Society, recruiting new members to train and mold them. At one point Batman describes the Justice League as a task force and the JSA as a family.

Throughout this issue a few different threads were being followed. The story of Mr. America, the story of the JSA being reshaped, and a surprise ending involving Wildcat. These all tie together quite nicely and jumping between these various issues makes for a fast paced exciting story.

The characters are shaping up to be pretty involving. I particularly like Starman, one of the new recruits, who spouts out several non-sequiturs to a news reporter after saving their helicopter. It turns out he’s a borderline schizophrenic who lives in the Sunshine Sanatarium. This makes for some funny (and ominous) dialogue. I suspect we’ll soon discover that Starman’s insanity is actually part of a bigger picture.

I would have to say that the most exciting part of the comic was the very last page where we get a preview of things to come in JSA this year. The last two panels were the most intriguing. first, a picture of Kal-L (the Kryptonian name of the Superman from Earth-Two) bursting his hand out of his grave (he was killed at the end of the Infinite Crisis). The following panel shows Kal-L talking. The best part of this panel is the way he’s drawn… looks like Alex Ross will be painting some issues.

As a side note, the first page of the comic is rather odd as it alludes to World War 3… apparently an upcoming DC Comics event. This is the second time I’ve seen this mentioned as of late (the first being by Dan Dido in the DC Nation panel in the back of Supergirl #13

This was an excellent comic book. If you haven’t read it yet, be sure to pick up the first issue.

Well that was a short read, even for a Green Arrow, but fun regardless.

I really enjoy the quick dry wit that Judd Winick brings to the series, and although I’m not a huge fan of Scott McDaniel and Andy Owen’s cartoon-like art, it’s a good match for Winick.

I’m a little annoyed over the whole Red Hood thing though. DC is really dragging the whole dead / undead Robin thing on and on. I really feel they should just leave him dead. How many times can you kill a character and bring him back. I say, let the dead rest in peace… unless they’re going to come back as zombies, it’s just not cool to write them in and out of existence time and again.

They definitely got the cover title wrong. This wasn’t “Batman & Green Arrow vs. Brick & Red Hood”. A more appropriate title would have been “Batman & Green Arrow search for Brick & Red Hood” since there was never a face off. That battle is left for the pages of Green Arrow #71.

I didn’t plan on writing about Detective Comics #826, one because it came out a couple months ago, and two because I’ve done nothing but crap on Batman lately and figured that’s what I would be doing here as well. After reading the issue, I couldn’t help but write a quick review.

This was a filler issue to be sure, but it was a filler issue done right. I was very curious to see how the Joker would be written back in to the Batman series and found it odd he would make his reappearance in the pages of Detective Comics (he was shot in the face at point blank range in Batman #655). All became clear as soon as I saw the editor’s note at the bottom of page 1: “The events in this issue take place before Batman #655″.
Instantly I felt cheated and angry and began to rush-read the issue. It all begins with Robin on a motorcycle being chased by some thugs.
By the end of the third page he has been coerced in to a car with the Joker who proceeds to gas him, bind him and go on a crazy hit-and-run rampage throughout the city.

The dialogue, pacing and mania of the Joker were all superb.
I don’t believe that a comic always needs to be a part of a bigger picture or story. A comic book’s basic function is to entertain. Most fillers fail miserably and the entertainment is left to the sweeping sagas or mini arcs. Detective Comics #826 did it’s job. It was a fast paced filler that kept me very entertained. Nice one Dini!

Grotesk, the title of the current Batman 4 part story arc, came to a close yesterday with Batman #662… thank god.
This arc, written by John Ostrander, is cliche from head to toe. The dialogue is sophomoric and the art (by Tom Mandrake) is lacking.

Grotesk ties Detective Comics #825 for title of the worst Batman story in the past few months.

It all begins with two cops, a veteran and a rookie, investigating suspicious activity at Gotham City Dock 42. They discover a man burning alive, begging to be shot. The vet does.

Later, Batman shows up in disguise and investigates the crime scene. The story follows the usual patterns of Batman following leads and running in to danger. At one point he has his first run in with the person dubbed by the media, and thus himself, as Grotesk. He is a lame hunch back slug with a mechanical arm that can produce fire. His “face” is covered in stitches, (later we find out this is a mask stitched together by his victims’ faces) and appears to be over weight. In short, Batman should have no trouble taking him out. Instead, Grotesk escapes by pulling the old which-one-will-you-choose routine when he lights a truck on fire. This over-used cliche happens twice in the Grotesk story. First in issue one and again in issue three when Batman must choose between apprehending Grotesk, saving a woman from the Geisha gang, or saving himself. Of course he chooses the latter two and Grotesk escapes.

Nothing much happens in part 2 (Batman #660). Batman investigates more goings on, gets in a couple more fights, and finishes out the issue by attacking a villain while yelling “prepare to bleed”. Yes, that’s right, prepare to bleed.

Grotesk lacks the mystery and intrigue that Ostrander tries to build around him. he is basically a Phantom of the Opera rip-off. This image is solidified when he leads a Russian gang leader and his posse to a trap at the Gotham City opera house. The gang shows up to acquire an invention done by the “late” Dr. Wayne Franklin, (what has appeared from the first issue to be the true identity of Grotesk) called the I-Gore. A Japanese gang leader is also lead in to the trap along with his geisha girl body guards. Batman also shows up. All the while Grotesk slinks around in the rafters yelling various ominous sentences. This is the most transparent Phantom of the Opera cliche I’ve seen in a while.

The new characters in this story lack any depth. The Japanese gang leader is particularly lame. He is obsessed with American crooners, thus he dresses like them and is constantly singing famous songs from the 50’s. Meanwhile, the Russian gang was malevolent, ready to shoot anything that dared oppose them (yet another cliche, this time in the form of a stereotype left over from the cold war).
The two characters appearing in the story felt like a cheap attempt to blend old campy Batman comics with the new darker Batman of today. In one panel you have a crooning, badly drawn Japanese man trying to imitate the American culture. The next thing you know, you have a pure evil Russian man getting his arm chopped off by an innocent looking geisha girl.

Then there’s Robin. No… there isn’t Robin. What happened to him? Throughout this entire story there has been no mention of the Boy Wonder, even though he was adopted by Batman a few issues ago.

DC is blowing it with Batman. They had this grand reset on the character with the end of Infinite Crisis and thus far, they’ve wasted it on two terrible stories, counting Detective Comics #825. In truth the issues preceding #825 were fairly useless and boring. Thankfully Grant Morrison will be returning with #663 along with Andy Kubert. Hopefully we can get back to some decent story telling.

Rather than including new releases in it’s own post each week, I decided to create a new releases page. I will update this every Monday with the new shipping list from Diamond.

To say I’ve been behind on my Civil War reading would be an understatement. I have the comic shop pulling every issue of Civil War and all of the crossovers. Over the past few weeks I’ve been trying to get caught up and I’m very nearly there. The biggest down side to getting backlogged is finding out that I wasted my money on several titles, Heroes for Hire being one such title.

Heroes for Hire is a group made up of 8 teammates: Misty Knight, Colleen Wing, Black Cat, Shang-Chi, Tarantula, Humbug, Orka, Paladin. Most of these characters are virtual unknowns in the Marvel Universe.

Heroes for Hire #3 (which came out way back in October of ‘06) is particularly wretched. In issue #2 Iron Man sent the Heroes out to talk some sense in to Captain America, I’m assuming the idea being that Captain America’s closest friends can’t reel him in, so surely these people you’ve never heard of can.
While on the mission, Paladin betrays the team, bombing the room with knockout gas, and apprehends Cap.
Issue #3 picks up with Misty Knight giving Paladin a beating. After several panels we find out that Paladin is actually Captain America in disguise… he swapped costumes after Shang-Chi beat up Paladin. Cap’s reason for not passing out from the gas? He held his breath, of course!
A brief conversation ensues and Misty fails to convince Captain America. Iron Man flips out after finding out that he got the wrong Cap’n A and yells at Misty. The looming sub-plot (that is actually going to be the main plot), which involves Skrull organ transplants thickened and the issue finally ended.

The art (Francis Portela and Billy Tucci) is stiff which makes the characters feel emotionless, and the dialogue (written by Justin Gray and Jimmy Palmiotti) seems as though it was written by a child. For the most part, Civil War has been a decent read. Heroes for Hire is useless. In some aspects it feels like a cheap knock off of DC Comics’ Secret Six… I’m just glad #3 is the last Civil War crossover. Needless to say, I won’t be reading future issues.