Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

reviews

DC New 52 Review: Supergirl #1

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While I love female superheroes – as evidenced by their ratings so far this month – I don’t always love the “-girl” versions of male heroes.

The practice of creating female (and teen) (and dog) versions of popular heroes is a decidedly DC habit, as Marvel never did anything of the sort with their core slate of heroes with the possible exception of She-Hulk. (Yes, you could argue more recent versions like X-23 and Rescue fill the same role, but they are separate characters with established stories – not Wolvergal and Iron Woman).

The problem with these matching woman heroes is they have to be altered with every reboot of their male counterparts. In fact, one of the major outcomes of Crisis on Infinite Earths was to remove Supergirl from continuity so Superman could truly be the last son of Krypton again.

The removal didn’t last for long. She came back as a peculiar amoeba-in-the-shape-of-a-girl courtesy of Lex Luthor, later merged with a mortal teenager, and was subsequently discarded in favor of a standoffish Kryptonian cousin – not to mention the massively popular Power Girl.

That puts us on version six of Supergirl with this debut issue. That’s a lot of girls to remember, but DC’s reboot says we can forget all the past iterations and focus on this new one.

Supergirl #1

Written by Michael Green & Mike Johnson, art by Mahmud Asrar & Dan Green.

Rating: 3 of 5 – Good

In a Line: “I know it’s a dream because there hasn’t been a blizzard on Krypton since I was barely old enough to walk.”

#140Review: Supergirl #1 has great art & provides the 1st super-strength bash of a fight this month, but skimps a bit on story

CK Says: Consider it.

Supergirl #1 is an act of delicious contrition – the first out of three dozen DC relaunch books that’s all of an origin story, an exhibition of powers, plus a knock-down, drag-out super-powered fight.

This book teases so many things that people may have wanted or even expected from a Superman relaunch. We get an opening shot of meteors descending over the midwest. We have an egg-like spaceship of Kryptonian origin. We even get a set of super-powered fisticuffs! We also get an unveiling of killer heat vision that evokes Cyclops’s lack of control over his powers.

Except, we know all of that about Clark, so what’s the fun of it? Rehashing the origins of established heroes feels rote and deliberately padded. Yet, Supergirl is a heroine who doesn’t haven a singular definition. With her, every new display of power evokes a nod of our head, “Yes, of course she can do that. Very interesting.”

Writers Michael Green and Mike Johnson do a good job of threading internal monologue through brisk, easy-to-follow action beats, playing Kara’s bewildered reactions true to someone who woke up on another planet. That only a little story elapses around the action is forgivable.

I enjoyed the art, as much for Asrar’s pencils as for the beautiful palette of colors from Dave McCaig. The pair of them seem to ramp up the Super iconography through the issue until it reaches a thrilling crescendo in the last panel. All the while, Asrar draws Supergirl as young and lithe – not an overly-muscled, overly- breasty babe. (It’s a pity he didn’t fix her awkward face on the cover, it’s nearly classic.)

McCaig’s coloring style on early pages evokes watercolor, with seemingly liquid-stained patches of light and dark. It helped to maintain the in-a-dream mood of Supergirl’s narration, which is shattered by the bright lights of the squad sent to collect her. As dawn breaks over the battlefield, McCaig shifts into a more standard set of superhero colors. It’s a genius transition that I didn’t entirely pick up on until my third read.

While I’m concerned they’ve boxed themselves in with an immediate introduction of Superman, all the positives neatly erase the slightness of the issue. If writers Green and Johnson can carry the philosophical bent of Kara’s narration as a stranger in a strange world into upcoming issues, Supergirl will be a welcome second-string Kryptonian title to Morrison’s Action Comics.

DC New 52 Review: Legion of Super-Heroes #1

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In my opinion, the entire endeavor of writing for and reading comic books is about continuity. The comics that appeal to me the most are the ones with the longest continuity. That’s part of why I love X-Men and avoid DC – X-Men refers back to 1963, while DC restarts or erases whenever they hit a tangle.

Given my predilection for continuity, I’m almost universally disinterested in alternate timelines and possible futures. What’s the point if it has nothing to do with the other thousands of comics I’ve read?

Legion of Superheroes presents an interesting wrinkle to my rule. Yes, it takes place in the 31st Century with increasinly less frequent interactions with Superman and Superboy, but it has been around for hundreds of issues – it has its own far-flung future continuity. However, in a wrinkle to the wrinkle, since Legion’s 1958 introduction this is the fifth version of the team.

Sounds way too convoluted. But, more importantly, is it any good?

Legion of Superheroes #1

Written by Paul Levitz, art by Francis Portela

Rating: 2.5 of 5 – Okay

In a Line: “You sure this isn’t a training mission?”

#140char Review: Legion of Superheroes #1 tosses readers in the deep end of 31st Century. Enjoyable, but overload for new readers w/ too few emotional beats.

CK Says: Consider it.

Legion of Superheroes #1 plunges forward with careless glee, its only concession to new readers being a set of attractively designed introductory captions explaining the homeworlds and powers of the many, many heroes we meet.

The story on the ground doesn’t need too much more introduction. Chameleon Boy leads a team to infiltrate a militarized planet that broke contact with the outside world. Levitz offhandedly gives the idea that all Legionnaires are well-publicized, which helps establish quite a few facts about the intergalactic heroes and the culture they operate in. Otherwise, their infiltration mission is fairly rote until they hit an obstacle at the end of the issue.

It’s the B-plot back at the ranch that drags. We meet a slew of people tossing around references that make no sense at all. While introducing tons of heroes on panel helps set the scope of the book and probably delights longtime readers, it was overload for me – especially because many of them barely had a line.

It’s all par for the course for a book with a big cast steeped in continuity, but Levitz makes the critical mistake of tying all of our emotional beats to knowing what the characters are talking about. We aren’t given any reason to care about anyone just based on their action in the present.

From there I quickly turned off to this issue. It’s a rare case where I would have rather watched brawl with less running commentary, as Francis Portela’s art is bold and sure throughout. He makes this set of strangers out to be iconic heroes, but I can’t find a reason to care about any of them. (I was slightly put off by a close-to-verbatim ripoff of X-Men’s Thunderbird/Warpath, but who knows – maybe this costume came first?)

It’s a shame Legion verges on unintelligible for new readers like me, because I think there is a lot to enjoy in this re-debut. This issue could have presented more of a primer on what the Legion is and the purpose they serve in the 31st Century. Without that, I doubt it will attract many new fans.

DC New 52 Review: Birds of Prey #1

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Birds of Prey is a team that’s crossed over to many other forms of Bat media. It’s a largely all-female team of costumed crime-fighters centered in DC’s major urban meccas.

It’s not so hard to grasp, and generally one of my favorite types of comic to read. Yet, I managed to be completely ignorant of the team aside from one key facet – that Barbara Gordon acted as team captain from her wheelchair as Oracle.

With the reboot sweeping Gordon’s Oracle off the playing field, I wasn’t so sure of what to expect from Birds of Prey. Add to that writer Duane Swierczynski, who I think of as the kind of guy who writes stoic male characters, and an DC-exclusive artist I’ve never heard of.

The result? Not a clue of what to expect from the cast or script of this book.

Birds of Prey #1

Written by Duane Swierczynski, art by Jesus Saiz

Rating: 4.5 of 5 – Remarkable

In a Line: “Can’t help but like her. She’s a natural born hellraiser.”

#140char Review: Birds of Prey #1 is a pitch-perfect debut for the lady mercs. Duane scripts each well & crafts puzzles within puzzles. Want the next ish now

CK Says: Buy it!

Birds of Prey #1 is one of the best first issues out from DC this month, and that’s coming from a reader who has never heard of or seen these characters ever before reading. Afterwards? Totally hooked.

I was concerned that Duane Swierczynski, who I think of as a hard-bitten guy-with-gun writer, wouldn’t have the hang of a slightly funnier female-driven book. I was entirely incorrect. He keeps the dialog brisk and to-the-point but still gets the tone of his pair of deadly heroines just right.

He also makes perfect use of intercut flashbacks, which artist Jesus Saiz’s cannily matches frame for frame to their lead-in from the present day. In an action-filled issue that’s decidedly NOT an origin story he still managed to clue me in as a totally clueless new reader.

As for Saiz, his pencils are ace. From the first panel of a dilapidated church seen through driving rain I knew we were in for something special. I’m simply in love with his art. Backgrounds are detailed with sharp details and textures, but characters don’t try too hard to be photo-real. Nei Ruffino’s colors help each character pop off of the background of the page. There are only a couple of instances where I couldn’t quite follow action from one panel to the next, and a few panels where Starling looks rushed.

Black Canary seems like the coolest gal friend to have as well as the most efficient non-lethal merc you can hire. Maybe that makes her a bit of a Mary Sue, but I didn’t get the sense she’s infallible. In fact, though she’s capable throughout, a mid-issue cliffhanger as well as the issue’s climax hinge pretty exclusively on her lack of foresight.

Meanwhile, Starling comes off as a deadpan suicide girl, tatted up and quick to act in a crisis. A Batgirl cameo was a thrill for me as a new reader, and seemed like a knowing reference to some post incarnation of the title.

It only took one issue for Swierczynski and Saiz to find the right formula for this action-packed, adventurous book. If they keep it up Birds of Prey will be one of the premiere titles of DC’s relaunch.

DC New 52 Review: DC Universe Presents #1 – Deadman

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There are DC heroes I’ve played with as toys, or seen in cartoons, or have some general inkling of the existence of.

Then there is Deadman. I’ve got nothing except for open contempt for writer Paul Jenkins, who seems to have the uncanny ability to let interesting plots lie just beyond the tip of his pen while he jots down page after snoozy page of circular interior monologues.

Even if he upholds his soporific reputation here on DC’s new superhero anthology title, at least we’ll only have to sit through it for a few months.

DC Universe Presents #1

Written by Paul Jenkins, art by Bernard Chang

Rating: 1.5 of 5 – Weak

In a Line: “And so Johnny Foster becomes yet another living brick on my path to enlightenment.”

#140char Review: DCU Presents #1 features Deadman & way too much interminable chatter in the hands of Jenkins, who couldn’t find a plot w/a compass in hand.

CK Says: Skip it!

DC Universe Presents #1 features Deadman in an issue that is totally dead on arrival.

There is recapping a character’s origin, and then there is over-explaining. There is using caption boxes to good effect, and then there is needing an editor to intervene. Welcome to the world of Paul Jenkins. He achieved the same soporific effect on this summer X-Men: Prelude to Schism mini-series.

Despite a witty introduction, this comic is one unending stretch of Jenkins’s dull version of Deadman’s internal monologue. Yet, after notching what is surely the highest word count of every new DC book so far, he doesn’t even manage to appropriately explain what Deadman’s power actually does. Sure, he can inhabit bodies and influence their actions, but is he in complete control? When he enters a body he’s assigned to can he leave willingly, or is he stuck like Scott Bakula on Quantum Leap? I’m not saying a first issue should try to explain everything – I’m just saying a first issue that does this much explaining should try to explain something the readers actually care about.

Instead, we get Deadman’s existential angst, worrying that haunting people isn’t as fun as it used to be, a four page chase scene to introduce a minor plot mcguffin, and a two page montage of previously inhabited bodies that just won’t end.

It’s a pity Jenkins writes this one into the ground, because Bernard Chang’s art is attractive. Or, it would be, if not for the overbearing, too-shiny colors. The colors make Chang’s pencils seem overly glossy, when they’re clearly pretty textured – at points evoking John Romita Jr. Only on Deadman’s otherworldly benefactor do the colors hit their mark.

Maybe Jenkins has a thrilling plot in mind for this opening arc of DCU Presents, but his recent track record points to a probable flatline. I don’t think I could stand to read through another overly-written issue.

DC New 52 Review: Green Lantern Corps #1

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Green Lanterns are like Jedi. They are a select few, each wielding an ancient force to defend the universe from evil, fear, greed, and tyranny.

The thing about Jedi is that they were always much cooler when they were rare. In the Original Trilogy we had two good ones and two bad ones – that’s it! When they were plentiful in the prequels they were much less cool – though Team Sith retained their awesomeness by only fielding a handful of dark mirrors of the Jedi.

I suspect the same holds true for Green Lanterns. First we had one on Earth. Then they were a galaxy-wide operation, each responsible for a sector. Now we’ve got multiple lanterns in each sector, multiple colors of lanterns, and gangs of lanterns trolling through space looking for a fight.

And we have this book. Green Latern Corps. Last week established my distaste for the Green Lantern mythology not once but twice, as well as my dislike of the other book out from writer Peter J. Tomasi. This book features both, plus scads and scads of Lanterns.

Let’s just say I’d rather rewatch The Phantom Menace.

Green Lantern Corps #1

Written by Peter J. Tomasi, art by Fernando Pasarin & Scott Hanna

Rating: 4 of 5 – Excellent

In a Line: “I can’t unplug – I can’t relax – I’m always waiting for the next mission or something to go wrong so I can power up.”

#140char Review: Green Lantern Corps #1 bucks the trend of boring GL relaunch books by introing 2 interesting heroes & a intriguing bloody mystery. Loved it.

CK Says: Buy it.

Green Lantern Corps #1 is everything a debut issue of a new team should be. It has a disturbingly bloody mystery, a glimpse at the home life of our heroes, and the conception of their new mission as a team.

Yet, it’s not the shock of the bloody spectacle that makes the book a delight. My faith in writer Peter Tomasi was low after Batman and Robin, but if anything it seems like he’s true to the voices of characters and Robin is simply annoying. Here he perfectly captures the different brands of angst of my first and least favorite Earth Green Lanterns, respectively, and finds a way for them to mesh together perfectly.

A sad sack Guy Gardner in a baseball cap is a treasure, sitting alone in a planetarium using his ring like a digital watch, later acquiescing to showing a waiting room of dudes something green. His bulbous-nosed face seems to be fixed in a permanent state of half-smirk, half-frown. A self-righteous John Stewart seems more handsome and muscular than in the past.

A bit of reflection between the pair of them while seated on an orbiting satellite is one of the best hero-on-hero dialog scenes so far in the relaunch – because both characters are humans first and heroes second.

Speaking of space, I’m hugely excited for more space art from Fernando Pasarin. He draws a GL Sector House like Firefly meets Star Wars – dilapidated high tech, and not too alien (even though there are aliens in it). The two alien GL’s fight with an unseen foe is like a light saber duel in slow motion, each panel a glistening freeze frame of cinematic action.

Guy and John’s entrance into Oa is both funny and epic, and the splash page of their space-faring team (and subsequent witty ground-level shot) had me staring for minutes. An act of silent genocide against a race of chubby blue otter people has an eerie gravitas that harkens back to Dark Phoenix wiping out a planet of peaceful broccoli-headed people.

That’s all surely abetted by inker Scott Hanner & Gabe Elateb’s colors, both of which are fantastic throughout the issue. This is a phenomenally matched art team that can make an interview as a high school gym teacher look riveting. Literally – they did that.

It’s really a pity that the interior team didn’t handle the cover, which is just average.

I never found myself stopping to ask questions about the mechanics of being a Lantern like I did in the other two Lantern books so far. Not only does Tomasi neatly answer a lot of questions in dialog, but his plot is so kinetic and so adroitly illustrated that the reader has no reason to pause and reflect on the missing pieces.

This is a fun, thrilling, gorgeous issue with nary a flaw, and it left me excited to read a second one – even if it’s about my least favorite line of heroes in the DC Universe. I suggest you give it a shot.