Wait, What? Ep. 81: On Tact Cleanses

[Image above from the awesome Sharknife: Double Z by Corey Lewis, which we did not discuss in this episode, but believe me it was rad.]

Sorry, sorry, for reasons that will probably be apart for those who listen to the podcast, I've got to pull some serious Hello!, I Must Be Going shit because I'm on night nine of the ten day Flowers for Algernon diet.

So join poor old Graeme McMillan and I for two-plus hours of the jibberty that goes jabberty.  Our topics include The Silence of Our Friends by Nate Powell and Mark Long; Shooters by Steve Lieber, Brandon Jerwa and Eric S. Trautmann; Friends with Boys by Faith Erin Hicks; digital comics and Infinite comics; Spaceman issues #4 and #5; the Wednesday Comics HC; Roy Thomas, Steve Englehart, and Joe Casey; Jim Shooter's Legion of Superheroes, New Deadwardians #1, Avengers Vs. X-Men #0, Scarlet by Bendis and Maleev, and the proverbial much, much more.

Nine out of ten dentists who choose Jif, etc., etc., iTunes, turn, heel, kick--jazz hands!

Wait, What?, Episode 81: On Tact Cleanses

P.S. please if you get a chanse put some flowrs on Algernons grave in the bak yard.

How can ya' miss me when you've forgotten who I am?

Ah yes, reviews, I remember those! Been a while, but I think I'm finally back on the weekly-review-train now! ACTION COMICS #7: I know the book's been a little uneven, but the issues that are good are so good that it makes my teeth hurt. I thought this was one of those issues. I'd rather read Morrison doing Superman than almost any other superhero comic by almost any other creator. I'm a little amused, however, that Brainiac is, y'know, the internet. VERY GOOD.

AGE OF APOCALYPSE #1: I have little-to-no natural affection for any of these characters (I sort of think the IDEA of the original AoA was more interesting then the actual execution), but I thought this was non-heinous, with some pretty nice art from Roberto De La Torre. What I don't see is how this is an ongoing series, because I can't imagine that (even with the X-Force lead in), there's more than, say, 10k people (by issue 4 or 5) who will want to read about alternate universe version of the X-Men? it's strange to me -- this is the kind of book that Marvel used to make fun of DC about (alternate versions of the same characters), but that Marvel is doing in multiple ways now (Ultimates, Zombies, this) -- this is the kind of thing that led to CRISIS ON INFINITE EARTHS, y'know? Anyway, this comic is perfectly OK for the kind of thing it is

AVENGERS ACADEMY #27: This, on the other hand, I thought was terrific -- funny, and real conflict and stakes, and just really being the "legacy" comic in a way that DC has entirely walked away from now with the 52. The "voice" of some of the Runaways is a little off, but over all, I thought this was a fun little romp of a comic, and was VERY GOOD.

AVENGERS CHILDRENS CRUSADE #9: If this had come out over the course of 9 months, I think we'd all be talking about what a great comic it was; but, of course, it has been TWENTY months, and the Marvel universe this story began in is kinda different than the one today. Characters live, characters die, and "Young Avengers" is largely thrown away as a concept by the end of this -- which is too bad, because I liked that first incarnation a whole lot. I'm glad Hulkling and Wiccan get their kiss at the end, though. Overall, I'll go with GOOD here, I think.

DEFENDERS #4: I pretty much flat out hated the first three issues -- I'd probably not have disliked it had it been, like, "Magic Man" and "Kung Fu Guy" instead of "Doctor Strange" and "Iron Fist", if you see what I mean? I just don't think that the characterization Fraction tried to graft on here really bore any relationship to past characterizations -- but this issue I kinda liked just fine. The problem is, at $4 a throw, the audience has now made up their minds about whether they like the book or not, and you have to hit the ball right in the first issue... you can't wait until #4. Either way, I can give it a low GOOD, but it's probably too late -- we sold 32 copies of #1, and just a meager 13 of #3.

FAIREST #1: I thought the premise of this FABLES spin-off was "it focuses on the female Fables"? *looks at the cover* Yeah, that's how they're selling it. So... why no female Fables as anything other than furniture here? This is the comics equivalent of the Senate hearing on Contraception, isn't it? Also, I have to say that I think the choice of the flat matte paper was a poor one with fully digital painted art -- it looks muddy and bland, and, frankly, ugly to my eye. Shockingly EH.

GREEN ARROW #7: Ann Nocenti's first issue... and it's just kind of weird, sort of like her later DD run. I mean, I liked it, don't get me wrong, and it's a big step up from the first six issues of this version, but triplet mutant killer seductresses? Mm, dunno. Also: what on the earth could they possible have "twelve of these" be referring to? Did they each lose eight toes, somehow?

Oh, and here's where I'll slot in the rant against the new DC logo. Here's how you know it is an utter and abject failure as a static object: they have to print the words "DC Comics" underneath it so that anyone could POSSIBLY tell that that is what it means. *sigh*

Anyway, Green Arrow #7: A strong OK.

MANHATTAN PROJECTS #1: I thought this was utterly spiffy, with a wonderful Jonathan Hickman high concept (if I tell you it, I'll thoroughly spoil the comic), and some really terrific art from Nick Pitarra. Man, it's kinda like a younger Frank Quitely. Image is on a helluva roll these days, isn't it? VERY GOOD.

NIGHT FORCE #1: Well, it was fairly pretty, but I really had no idea why I should care, or whom I should root for. Much like the original series, when i think about it. EH.

STORMWATCH #7: Paul Jenkins comes in as new writer, and it's a little better, though I'm still not finding the compelling reason for these characters to be together. At least when it was THE AUTHORITY, you got the who "We're smarter than you" Warren Ellisy vibe going for it. Very strongly OK, but not any better than that.

SUPURBIA #1: Ah, if only this hadn't been so strictly mapped to existing archetypes, I might have been more attracted to it, but I don't really need YET ANOTHER pastiche of Superman and Batman and Wonder Woman, I don't think. "The Real Housewives of Superville" is a fun enough pitch, and the execution was at least competent, but this largely feels recycled and warmed over. OK.

SWAMP THING #7: SEVEN ISSUES for the protagonist to actually appear in his own comic, terrific. And yet, I still like it adequately. I really do rather hope that out protagonist and antagonist both manage to defy their expectations -- but I also think that this "rot" plotline just can't go on indefinitely, and may already be outstaying it's welcome. One problem: the big Green Guy is too wicked powerful -- look at the way he routed all of those minions in a single double page spread. I'll just barely give it a low GOOD.

ULTIMATE COMICS SPIDER-MAN #8: I'm kind of creeped out that the guy on the cover looks very little like the guy actually in the comic book. There's also something boringly predictable about the Aunt May and Uncle Prowler scenes -- now all we need is for Nick Fury to step back in where he left off. When you add that to how Miles' voice is virtually identical to Peter's... well, I'm kind of not feeling this book, sorry. (especially for $4, jebus!) EH.

Right, that's me... what did YOU think?

-B

Favorites: All-Star Superman

All-Star Superman Vols. 1 & 2Grant Morrison, writer Frank Quitely, artist DC, 2008-2010, believe it or not 160 pages each $12.99 each

The cheeky thing to say about the brand-new out-of-continuity world Grant Morrison constructed to house his idea of the ideal Superman story is that it's very much like the DC Universe we already know, but without backgrounds. Like John Cassaday, another all-time great superhero artist currently working, Frank Quitely isn't one for filling in what's going on behind the action. One wonders what he'd do with a manga-style studio set-up, with a team of young, hungry Glaswegians diligently constructing a photo-ref Metropolis for his brawny, beady-eyed men and leggy, lippy women to inhabit.

But, y'know, whatever. So walls and skyscrapers tend to be flat, featureless rectangles. Why not give colorist/digital inker Jamie Grant big, wide-open canvases for his sullen sunset-reds and bubblegum neon-purples and beatific sky-blues? We're not quite in Lynn Varley Dark Knight Strikes Again territory here, but the luminous, futuristic rainbow sheen Grant gives so much of the space of each page--not to mention the outfits of Superman, Leo Quintum, Lex Luthor, Samson & Atlas, Krull, the Kryptonians and Kandorians, Super-Lois, and so on--ends up being a huge part of the book's visual appeal. And thematically resonant to boot! Morrison's Superman all but radiates positivity and peace, from the covers' Buddha smiles on down; a glance at the colors on any given page indicates that whatever else is in store, it's gonna be bright.

Moreover, why not focus on bringing to life the physical business that carries so much of the weight of Morrison's writing? The relative strengths and deficiencies of his various collaborators in this regard (or, if you prefer, of Morrison, in terms of accommodating said collaborators) has been much discussed, so we can probably take it as read. But when I think of this series, I think of those little physical beats first and foremost. Samson's little hop-step as he tosses a killer dino-person into space while saying "Yo-ho, Superman!"...Jimmy Olsen's girlfriend Lucy's bent leg as she sits on the floor watching TV just before propositioning him...clumsy, oafish Clark Kent bumping into an angry dude just to get him out of the way of falling debris...the Black-K-corrupted Superman quietly crunching the corner of his desk with his bare hands...Doomsday-Jimmy literally lifting himself up off the ground to better pound Evil Superman's head into the concrete...the way super-powered Lex Luthor shoulders up against a crunching truck as it crashes into him...the sidelong look on Leo Quintum's face as he warns Superman he could be "the Devil himself"...that wonderful sequence where Superman takes a break to rescue a suicidal goth...Lois Lane's hair at pretty much every instant...You could go whole runs, good runs, of other superhero comics and be sustained only by only one or two such magical moments. (In Superman terms, I'm a big fan of that climactic "I hate you" in the Johns/Busiek/Woods/Guedes Up, Up & Away!) This series has several per issue.

And the story is a fine one. Again, it's common knowledge that rather than retelling Superman's origin (a task it relegates to a single page) or frog-marching us through a souped-up celebration of the Man of Steel's underrated rogues gallery (the weapon of choice for Geoff Johns's equally underrated Action Comics run), All-Star Superman pits its title character, directly or indirectly, against an array of Superman manques. The key is that Superman alternately trounces the bad ones and betters the good ones not through his superior but morally neutral brains or brawn, though he has both in spades, but through his noblest qualities: Creativity, cooperation, kindness, selflessness, optimism, love for his family and friends. I suppose it's no secret that for Morrison, the ultimate superpower of his superheroes is "awesomeness," but Superman's awesomeness here is much different than that of, say, Morrison's Batman. Batman's the guy you wanna be; Superman's the guy you know you ought to be, if only you could. The decency fantasy writ large.

Meanwhile, bubbling along in the background are the usual Morrisonian mysteries. Pick this thing apart (mostly by focusing on, again, Quitely's work with character design and body language) and you can maybe tease out the secret identity of Leo Quintum, the future of both Superman and Lex Luthor, assorted connections to Morrison's other DC work, and so on. But the nice thing is that you don't have to do any of that. Morrison's work tends to reward repeat readings because it doesn't beat you about the head and neck with everything it has to offer the first time around. You can tune in for the upbeat, exciting adventure comic--a clever, contemporary update on the old puzzle/game/make-believe '60s mode of Superman storytelling in lieu of today's ultraviolence, but with enough punching to keep it entertaining (sorry, Bryan Singer). But you can come back to peer at the meticulous construction of the thing, or Morrison's deft pointillist scripting, or the clues, or any other single element, like the way that when I listen to "Once in a Lifetime" I'll focus on just the rhythm guitar, or just the drums. Pretty much no matter what you choose to concentrate on, it's just a wonderfully pleasurable comic to read.

I am I am I am Superman and I know what's happening: Graeme gushes about 4/11.

So, I read Tom Spurgeon describe All-Star Superman as "one of the best superhero comics of the last 30 years" this week and thought, wow, that's pretty high praise. And then I read ALL-STAR SUPERMAN #7, and re-read the first six issues (released in collected form this week as ALL-STAR SUPERMAN VOLUME 1 HC) and thought, you know, maybe he's not giving them enough credit. As much fun as the series is in single issue sittings, there's a lot to be gained from reading the first half of the series in one go. You catch the running themes (multiple identities, mortality, the multiplicity of the Superman character type) much more clearly when you can sit there and connect the dots. Although the series is constructed so that even though every issue is a story in and of itself, each issue is structured to play off what has come before and set up what comes after - the fifth issue, for example, ends with Lex Luthor embracing death because he's murdered Superman before the sixth shows the first time that Superman had to deal with mortality experienced from three different periods of Clark Kent's life (with the third perspective an Easter Egg for longtime Grant Morrison fans, who've read DC One Million and know that Superman Prime is our Superman in the far, far future); even the cliffhanger ending of issue 7, the first real two-parter of the series (Even though #2 and 3 were kind of a two-parter), manages to provide a conclusion for the main plotline with the defeat of the Bizarro World before branching out into the two-page set-up for the next issue. It's not that the series is being written for the trade, as the kids say, but just another illustration of how much thought and care has been put into its creation.

This is, without a doubt, a labor of love for Grant Morrison. You can see that, more than anything, he believes in Superman; this is a book, first and foremost, about Superman as a force for good and not something that worries about deconstructing the character or making him relevant for modern times. That's not to say that it's dated or retro, however... As much as the book's focus on Superman as not only perfect but almost unrelatably so may bring to mind the Silver Age take on the character, this is timeless instead of old-fashioned. Morrison's talked in the past about approaching super-heroes on a mythic level, but this is the first time for me where he's actually achieved that, perhaps because of the lack of the self-consciousness that shines through on the rest of his mainstream superhero work (Compare an issue of this with his Batman, for example, or his Wildcats - in those books, he's almost trying too hard to live up to his reputation, where here everything just works. There's a calmness and focus, instead of "Grant Morrison, he's so crazy"). Which isn't to say that there isn't imagination on show here, but it's imagination used in service of the story - and imagination where the ideas come slower but are more followed through, as opposed to his other work - which makes all the difference.

A lot of the calm that the book exudes - fittingly, considering the unflappable, serene nature of its star - comes from the art, which shows off Frank Quitely's very personal sense of design, pacing and space better than anything else he's done; We3 may have been more formally inventive, but All-Star Superman gives him the ability to compose a page and control your eye without the need for hyperactive bullet-dodging cyber-rabbits. It's widescreen art, but not in the traditional comic sense of the term - the panels stretch across the page to show surroundings, movement and the characters in a beautifully cinematic way, gracefully and allowing the reader to feel that everything is real, or at least, exists outside of the confines of that particular panel. There's a sense of life in the work, if that makes sense. "Digital inker" and colorist Jamie Grant's work helps dramatically in that, it has to be said - especially in the sixth issue - subtly reinforcing Quitely's linework while giving it more depth and weight, and completely earning his name being on the cover.

So, I'm reading these seven comics last night, and realizing that there's not a wrong step in any of them. The tone is perfect for Superman stories, the plots the right mix of adventure and overwrought emotion, the execution an ideal balance of humor and grace. It's so stunning a series that delays between issues don't seem to matter, because you know that the wait will be worth it, and when taken along with Jeff Smith's Shazam series, a successful one-two punch for DC of superhero comics that make you feel like you did when reading comics as a kid, even though you're an adult. Excellent, and then some.

No reviews for me tomorrow (or Sunday, for that matter) - It's Kate's and my wedding anniversary today, and we're celebrating five years of Kate not coming to her senses and dumping my comic-readin' ass by heading out of town for the weekend. Expect to see me recharged and full of snark in a couple of days, though.