“They Could Be A Crosstown Bus, A Croissant Or A Crossdresser By Now…” COMICS! Sometimes You Should Have Put  A Ring On It!

So I took a break and now I’m back! Like rickets! So here’s far more words than anyone sane would ever need to read about a two-issue comic Howard Victor Chaykin did in 2006. Because, that’s why. Just because. Also: because. Because.  photo GGCD_logoB_zpsmu81xngi.jpg GUY GARDNER: COLLATERAL DAMAGE by Chaykin, Madsen & Balsman

GUY GARDNER: COLLATERAL DAMAGE #1-2 Art by Howard Victor Chaykin Written by Howard Victor Chaykin Coloured by Michelle Madsen Lettered by Phil Balsman DC Comics (2006) Green Lantern created by Gil Kane, John Broome, Bill Finger, Martin Nodell and Gardner Fox Guy Gardner created by Gil Kane, John Broome G’Nort created by Keith Giffen & J. M. deMatteis

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“Guy Gardner: Collateral Damage” is part of the second of Mount (as in “Mountain”; it’s not an instruction) Chaykin’s twin creative peaks. The first peak, as any fule kno, was in the ‘80s when Howard Victor Chaykin stopped putzing about and found his suave groove. In this period, covering “American Flagg!” thru to “Black Kiss”, Chaykin was amazing. The second, less trumpeted, peak occurred in the ‘00s and marked Howard Victor Chaykin’s full-time return to comics after toiling in the soulless arena of Television for much of the ‘90s. What he did in Television was make money, any more detail and you’ll need someone who gives a shit about Television. A comic writer with an Image book, say. Me, I think a talking car was involved and some Marvel show about mutants; I’m already falling asleep, zzzzzzz. Anyway, everyone needs money so whatever and well done to him. Howard Victor Chaykin burst back onto the comics scene with “Mighty Love”, and followed it with a fiesta of fun concepts, nut-tight art, smart scripting and…no one gave much of a shit, to be honest. Which is a stain on Comics’ collective Report Card. (Also, Comics must try harder in gym and stop being so easily distracted, there are no jobs out there for class clowns.) Luckily I am here to heroically, singlehandedly and, above all, modestly rescue Howard Victor Chaykin’s ‘00s output from the ignominy of thoughtless neglect. I picked “Guy Gardner: Collateral Damage” because as we’ll see it is an unlikely place (a continuity burdened Event tie-in) for his characteristic strengths to find purchase. But, like Nature, Howard Victor Chaykin finds a way. Also I’d just bought it on The ‘Ology.

 photo GGCD_gunsB_zps8tykyj3z.jpg GUY GARDNER: COLLATERAL DAMAGE by Chaykin, Madsen & Balsman

Yes! This aptly named series originally appeared in 2006 as two “prestige” format comics and is now available in 2017 digitally (and, crucially, cheaper) on the ‘Ology.  This means I can write about it without breaking the spines of my originals while scanning them. (Such are the trials which mar my life!) The book lived up to its title (“Collateral Damage”, see) by being barely noticed on publication due to most eyes being filled to the brim by the rest of the “Infinite Crisis” lardfest, of which this was but one small part. In the same way that “House of M” (2005) sounded the death knell for my interest in Marvel’s output, “Infinite Crisis” would place the pillow over the face of my interest in DC and begin to apply pressure. Lest we forget, because after all it was 11 years ago now,  “Infinite Crisis” was the core series in which Geoff Johns wrote a load of typically mawkish continuity-chuff drizzled in saucy gore, and peppered with his childish resentment at internet commentators; all in an attempt to hornswoggle the audience into believing something of merit and depth had occurred. (It hadn’t.) Worse, there were ancillary mini-series like “The Rann-Thanagar War”, which, while decently written, was a waste of the unique talents of Dave Gibbons. Getting Dave Gibbons to write corporately mandated tie-ins to short-term sales bloating events is a bit like getting Isambard Kingdom Brunel in to unblock your sink because the boss is coming round for dinner.  It’s unseemly, and speaks to a total lack of appreciation of his gift. Which is the ability to draw real well, DC Comics. I thought I should spell that out for you; although I guess for DC the real gift of Dave Gibbons is his ability to maintain a dignified silence while they fart once more into the face of  “Watchmen”’s corpse. Although there is a certain grim irony in the fact that DC’s latest attempt to reduce one of the (very few) decent cape comics into something they can eventually team-up with Scooby fucking Doo starts with Batman finding a “Watchmen” promotional button in his cave. After all DC’s underhand antics with promotional badges are what started the whole sorry “Let’s All Hunt And Kill Alan Moore” shitshow off aren’t they? (Yes.)

 photo GGCD_punchB_zpszkvihayg.jpg GUY GARDNER: COLLATERAL DAMAGE by Chaykin, Madsen & Balsman

But this isn’t about that, this is about a Howard Victor Chaykin comic which was secreted somewhere within  muddled parpstorm of a terrible Event. An Event so larded in extraneous chaff that I’ve hardly even begun to scratch the surface. I can’t even be arsed to look it up, so demoralising is the memory of all that Trex, so I may have a few facts wrong when I say there was also “The OMAC Project” which involved Greg Rucka, so it was probably a bit like drowsing while watching a TV show about a strong! independent! female! written with all the élan and excitement of a spreadsheet macro; “Villains United” which tried to make Catman a sexy badass, so enough said there, and a series about the return of Donna Troy (imaginatively and thrillingly entitled “The Return of Donna Troy”) which I imagine no one read, since no one shares DC’s insane belief in the character of Donna Troy. Although it is sobering to note that they have treated Donna Troy, a fictional character, with more love and respect than they have treated Alan Moore, a real human being. Maybe Alan Moore should start wearing a tight cat suit with little stars on it; it wouldn’t change anything but I think the world would be fundamentally a far sexier place. He could maybe jump around a bit and giggle for Peak Sexy. Uh, anyway, Donna Troy, I don’t know; that probably went about as well as expected, I think they found her weeing in a grate outside IKEA while singing showtunes. I could be wrong. Oh, and then all the regular DC series had a tie-in of some description, that description probably involving the terms “irritating”, “disruptive” and “unwelcome”. Best of all (i.e. worst of all) every title then zipped forward 12 months and the series created specifically to fill in this blank, “52”, didn’t. But everyone writing it had fun and readers did get to see small child torn to pieces by a talking crocodile, which is worth more than rubies to Geoff Johns. In essence the “Infinite Crisis” Event turned out as well as any Event could which starts off with the chirpy schmuck Blue Beetle’s brains being blown out. Fucking grown up stuff, that. If I have made any errors in that brief rundown I want to assure you now that I don’t care. Not a jot. What is undeniable is that the only worthwhile reason to brave this blizzard of inconsequential pablum was Howard Victor Chaykin; who, working diligently away in a neglected corner of the DC Universe, produced another Howard Victor Chaykin comic.

 photo GGCD_barB_zpskqh8e7mj.jpg GUY GARDNER: COLLATERAL DAMAGE by Chaykin, Madsen & Balsman

Given the nature of the Event beast Howard Victor Chaykin must here sup from the cup of continuity somewhat deeper than is his wont, yet Chaykin still ably finagles his way into writing what he’d rather be writing about: a horny jackass accidentally doing the right thing for all the wrong reasons. First though he has to pay lip service to the corporate tie-in friendly setup, which is that G’Nort (AKA G'nort Esplanade G'neesmacher the canine looking alien Green Lantern) is looking for an independent entity to broker peace between Rann (the planet of boffins Adam Strange knocks about with) and Thanagar (the planet of winged fascists like that Hawkman). Caught between these two cheeks of the same warmongering arse G’Nort’s home planet has fared poorly. What with his family having being offed the usually played for laffs character is thus portrayed as a bitter champion of peace. An upright talking dog with a magic wishing ring rancorously lamenting its slaughtered family is a pretty good joke about “gritty” superheroes, I think. So, back at the point: G’Nort chooses Guy Gardner, who is the “edgy Green Lantern”. Since the only Green Lantern I have any familiarity with is Hal Jordan, in comparison to whom even I appear “edgy”, I don’t really know how “edgy” Guy Gardner is usually. I’m not really interested either. Here Howard Victor Chaykin writes Guy Gardner as “Howard Victor Chaykin” (Legal Note i.e. not really Howard Victor Chaykin but the cartoonish exaggeration he uses as his default protagonist. Hence the rabbit’s ears round his name.) Or “Howard Victor Chaykin” if he owned his own bar (namely Warriors: “…the finest meat rack the world’s ever seen”) and had a magic wishing ring. It goes without saying that this is the single best set up for a series ever, ever, ever and the very real tragedy is we only have two issues. To recap for Green Lantern newbs: If you stick your finger in Guy Gardner’s ring and make a wish, that wish briefly becomes a physical, but green, reality. But should you stick your finger in Howard Victor Chaykin’s ring and make a wish you end up with a few less teeth and a restraining order. A little lesson in the difference between fantasy and reality there, kids. So, yeah, since there’s a six-issue mini-series occurring somewhere beyond these pages about the Rann-Thanagar War the whole peace process business is a bit of a McGuffin. Okay, a lot of a McGuffin. Everyone gathers in Guy’s bar and then the Tormocks burst in and wreck it and the comic forgets what it was supposed to be about while Guy goes and finishes off the Tormocks. The Tormocks having just finished off the Vuldarian race. I just looked on Wikipedia and, oh wow, it turns out Guy Gardner is the first successful example of the merging of Vuldarian (the Tormock’s hated enemies)  and human DNA. Guy was also born in Baltimore, Maryland. There are people out there who know all that but don’t know who their MP is. Think about that for a minute. This comic is a lot of fun but not quite as much fun as imagining Howard Victor Chaykin’s face as he read Guy Gardner’s backstory.  Bojemoi!

 photo GGCD_stanceB_zpsszd2o8ur.jpg GUY GARDNER: COLLATERAL DAMAGE by Chaykin, Madsen & Balsman

Given his oft expressed preference for comics’ form over comics’ content I was amazed that Chaykin had immersed himself in Guy Gardner’s typically ridiculous (not a criticism) continuity to the extent he had, but it’s all part of Chaykin’s sleight of hand as he refocuses the tie-in not too subtly onto his pet concerns. Basically the Tormocks allow him to provide his arrogant schmuck of a protagonist with the usual “moral cripple” opposition. Since Guy Gardner is the “hero” it’s important he come into conflict with someone demonstrably worse. Which is kind of tough because Gardner is a leering oaf, a blunt concoction of braggadocio, poor impulse control and genitally driven self-interest.  And he also has the worst haircut in comics. The guy’s a walking pile of soiled jock straps with all the self-awareness of a stump. Much of the comedy comes from Chaykin nakedly embracing Guy’s faults, with only Guy’s wishing ring’s sardonic commentary, acting as a kind of unheeded conscience, as a balm to the buffoonish sexism on display. I kid you not when I say there are no less than three panels in which Gardner is clearly ogling a boob while talking to its owner, and his interest in heroism is a poor second to his interest in troilism. Even back when it was just called dickheadedness Chaykin showed a  concern with toxic masculinity, a concern which persists in his work. Because he doesn’t actively undermine it to the extent people expect someone to I think he gets a raw deal, and people interpret his depiction as an endorsement. (Also it’s easier to dismiss him that way.) Chaykin’s mature (i.e. Flagg! onwards) work is festooned with protagonists hampered by their toxic masculinity. Usually violent, sexually aggressive and emotionally restricted many of Chaykin’s male leads are walking (but charming) embodiments of toxic masculinity. But the stories they inhabit are often misinterpreted as celebrating this, because Chaykin doesn’t tut and shake his head enough to sate political correctness. Yet Chaykin’s usually kneecapping male bravado as thoroughly as a bolt gun. in “American Flagg!” our cocky protagonist  is brought firmly down to earth, only prevailing through fear driven violence and ending a weeping wreck in the arms of a woman despite all the swagger of preceding issues. “Midnight Men” is as much about a man breaking out of the emotional inertia of maleness so he can finally mourn his father, as it is about the joys of punching assholes in the face. Blackhawk doesn’t win by fighting, he wins by thinking. Cass Pollack in “Black Kiss” is thoroughly punished, emasculated even, for his moral feebleness. And Guy Gardner, well, Guy Gardner is just an unrepentant prick. And remains so. Which is fine, but it makes it hard to root for him. Hence the Tormocks. This bunch of charmers are basically engaged in ethnic cleansing on a universal scale, and not only kill people but turn them into a kind of paste and then get schwifty while rolling about in it. So, yeah, as unrepentant as he may be Guy Gardner doesn’t look too bad in comparison. I’ll take toxic males over space Nazis anyoldday.

 photo GGCD_spaceB_zpsqzvwly9g.jpg GUY GARDNER: COLLATERAL DAMAGE by Chaykin, Madsen & Balsman

Visually, Chaykin returned from Television with a new lucidity and boldness which the pages of  “Guy Gardner: Collateral Damage” testify loudly to. His figures are big and his layouts regimented. It’s easy to rip the piss out of the predictability of his layouts, with their strict regime of vertical or horizontal panels interrupted by insets, but it works because his aim is clarity, not pizzazz. Sometimes his aim’s off though. No, it’s not all unrestrained gushing from my end (ooer!), Chaykin’s pages definitely work best on the horizontal pattern; the vertical doesn’t give him enough space to stage action, which he forgets sometimes. Confusion ensues. (A dependency on vertical panels would somewhat tarnish, and for some fatally undermine, the many other pleasures of the later “Century West” OGN) Mostly though it’s good lookin’ stuff! There’s a real bounce to it all, a real sense Chaykin’s having a good time. This pleasure is particularly evident in the glee with which he yanks back the clock on the sci-fi stuff. Chaykin’s space jalopies are fantastically old school, each a knowing throwback to the thrilling days of yesteryear. Specifically 1938-40,  when Olympic swimmer Larry “Buster” Crabbe (1908-1983) was so virile he portrayed not just Flash Gordon but Buck Rogers to boot. With their rococo ornamentation and redundant aerodynamic tapering Chaykin’s ships just need a fire cracker stuck up the jacksie and to be hoisted aloft by wires moving in a circular but persistently vertical motion. (Also, I’m pretty sure one of the characters is using a hairdryer as a gun at one point.) This obvious affection for the outmoded, impractical but beautiful would find later and fuller expression in Chaykin’s “Buck Rogers” revamp. Here though it’s super heroes a-go-go and Chaykin goes appropriately brash and big with the figurework. Surely no heart can remain unmoved by the five (count them: five!) double page splashes which open the book in a suitably dynamic and sweeping style. Oh yeah, there’s also some debonair styling going on as Chaykin continues his wholly understandable love affair with the visual of a man in a nice suit. And woven in among it all are some sweet little touches of humour, such as the repeating GL symbol on Guy’s tie. It helps that the book’s coloured by Michelle Madsen, whose contribution to this ‘00s second peak period of Chaykin is considerable. Embracing lurid and fruity colours as befits such a lurid and fruity book, Madsen’s colouring here is delightfully essential rather than dutifully unobtrusive. The lettering is fine, but it’s not Ken Bruzenak. It’s fine though. But not Ken. Okay I’ve run out of time so “Guy Gardner: Collateral Damage” is undoubtedly a minor work by a major talent, but it’s still VERY GOOD! Let those who worship evil’s might, beware my power – COMICS!!!

A buncha zeroes

Yeah, so the DC "Zero month", hows that working out?

(I know this is lazy bloggery, finding an easy theme and going from there, but in my defense it took me longer to write the Tilting than I thought it was going to take, and I gave Kimbrough the weekend, so I've been working a crazy lot recently. I'm sleepy!)

 

One thing I'm not going to do is be all dumb and try to review each and every one of these comics -- my head still aches from doing that with the #1s. So, just overviewy time, I think. Let's start with some new books?

 

PHANTOM STRANGER #0: There are some characters -- like, say, Wolverine -- who stay much more interesting when there're bits of them shrouded in mystery. Knowing that ol' Logan used to be a foppish little child who wore a night dress... well it kind of diminishes him, I think. Much the same with the Phantom Stranger, whose very appeal IS IN HIS NAME. "I...am a stranger."

So, turning him (actually) into Judas Iscariot (with his trademark '70s love-disk necklace becoming the literal 30 pieces of silver) is... well, ill-considered, at best, right?

What you need to remember is that when there was an issue of "Secret Origins" about The Phantom Stranger in the 80s, DC was clever enough to give him four different possible origins. That's smart, and really kind of amusing really. But, no, today we need to be all literal. Ugh.

It's a bad idea though to really underline that both the God of the Old Testament and the "Council of Wizards" on display here who are handing out apparently handing out god-like powers and conditions and, like, the Greco-Roman pantheons all exist in the same world. You CAN make it work, but mostly by God being indirect, but in this first issue we're already well off the rails, as Dan Didio conflates The Phantom Strangers origin with that of The Spectre. Oh boy.

So, follow along: PS *is* Judas, condemned to "walk this land until the debt for your sins is paid". And, when PS levels up, one of the thirty pieces of silver drops from his chain. (!)

So, let's think about the storytelling problems with this set-up.

First and foremost, "Redeeming Judas" is a fairly distasteful Plot -- 30 level-ups and PS is forgiven for killing the Son of God, really? We're going to make Adolph Hitler the next Green Lantern, next? Yikes!

The second problem is that PS' first level-up comes from encouraging Jimmy Corrigan along a path that makes him The Spectre. In other words, he earns his first level-up from essentially *betraying* Corrigan, not helping him. This version of God is a supremely large asshole, doncha think? Didio tries to kind of be coy about the involvement of God by being all "I'm not sure whose Voice it really is", but this is all put to a lie at the end when the Voice clearly has the power to not only create, but to control The Spectre.

Theologically, cosmologically, this thing is just a horrid mess -- it feels like the kind of idea come up with at 3 in the morning, the night before your solicitation copy is due, when someone panics and points out that someone counted wrong, and you only have 51 books in the third wave. It's just possible that maybe, the setup could be messaged to make work, but it would take a much more skilled writer than Didio to rise above the errors of the plot.

Brent Anderson's art is nice, of course, but otherwise this comic is a fairly insane mess. Flatly AWFUL.

 

TEAM 7 #0: Here's a book whose premise I really don't understand: is it meant to be permanently set in the past? It's a "flashback" series? That won't work, not with these characters, at least... ugh, and my first week sales really show that (3 copies only? ruh roh). Wow, I'll be selling zero copies by issue #6 for certain.

The problem is, kinda, that this is retarded: they won't tell us the backstories of, say, the JLA in the "five year gap", but they want people to buy a team that includes Grifter and Deathstroke... characters in the bottom 20% of DC sales? And that it is a mixed hybrid of WS and DCU at that? Ew. It's all guns and ammo pouches and belts and shoulder pads... and really nothing that almost anyone in the modern audience is really interested in at all.

The other problem is there are at least 9 team members introduced in this first issue (but only seven on the cover, so guessing a few of those are introduced-to-die), plus "control" from Lynch -- and introducing all of THAT doesn't leave any room for, y'know, actual plot.

I'm giving this a Thumbs Down, but from pure craft, it's not any worse than OK.

 

EARTH 2 #0: I was really wondering how the LAST wave of books was going to work, considering they had just started and all that, and here's one answer: it feels like James Robinson had no idea what to do with this interruption to his world building -- most of this issue is really just a minor redo of issue #1, now with more Terry Sloan. Pity, I was groovin' on this until now. OK.

 

GREEN LANTERN CORPS #0: Some of these books are playing "fast and loose" with continuity, and this one might be a good example: Guy Gardner has a TOTALLY different origin here than in the original comics -- here, he's the fully trained sector partner of Hal Jordan, plus he's a failed cop from a family of cops. In the original, Guy was a gym teacher who missed being a GL by a few feet, geographically, then was rescued from a coma by a rogue Guardian during the first Crisis. So... I guess none of those Englehart/Staton issues actually happened, then? But... if none of that happened, then... how did Hal ultimately go nuts, and become Parallax, which lead to the Rebirth, which lead to the Blackest Night? Add that to the other characters that couldn't have participated in that story, then how was GL #1 a follow-up to Brightest Day? Oh god, oh god, my head hurts! THIS is why the "five year gap" simply doesn't work -- you tug on one thread and all of a sudden all of the rest of it falls apart.

If you want a laugh (or maybe I'm the only one who is laughing), go look up the Wiki page for Guy Gardner and watch how BOTH his pre- and post-DCnU are expressed on the page, jumping back and forth between them paragraph by paragraph. Silly.

This new origin is pretty EH -- it makes Guy Just Another Corpsman, rather than the complex contradiction he used to be. Oh Well.

 

GREEN LANTERN #0: It's actually kind of nice to read a #0 that's contemporary, AND an origin, AND will be followed up directly next month. The new GL is Muslim-American -- how timely. And, of course, his "origin" involves 9/11 and being mistaken for a terrorist. OF COURSE.

And, sure, 9/11. 2001. Which is made explicit in GL #0, since it's more than 10 years ago, by captions. But, of course, BATMAN #0 takes place "six years ago"... making Bruce and Kal and everything else explicitly post-"War on Terror" and, Jesus, doesn't THAT change the characters dramatically? And that, folks, is why you NEVER tie superhero comics to explicit dates or historical events -- my son was 3 years old when the JLA started? *headsplode*

Anyway, back to GL -- I'm pretty cool with this new setup, except for the cover, I think -- why does the muslim GL have to wear a gimp mask and carry a gun (!) when he's got a MAGIC WISHING RING on the end of his fist? Why wear a mask like that when your EXTREMELY DISTINCTIVE tattoo is all lit up in green light?

But, even with all of that, this COULD work... if only GL didn't launch into a four-month, four-book crossover next month. *sigh*

Even with all that, I kind of thought it was a low GOOD.

 

BATMAN #0: As I noted before, this goes the furthest back in the "near past", set SIX years ago. But, I think this might have been one of the most effective #0s I've read so far as it really did try to add to the legend of Batman, showing us something we've never seen before, with pre-costume batman-ing. And, I frankly loved the backup story (mostly from the art by Andy Clarke), even with the whole Jason's-an-accessory-to-murder bit (which is reasonably fine with his character) -- so, yeah, I'm going to say this one is VERY GOOD, even if the timeline makes zero sense.

 

OK, books almost arriving today, I'm out of time... as always, what did YOU think?

-B