Wait, What? Ep. 110: Let It Snow, Let It Snow, Let It Snow

One of the two delightful pieces of art made for us by the impressively talented Garrett Berner (a.k.a. The Mighty Gar)

It's our last podcast of the year!  Yes, after this two hour and ten minute Whatstravaganza, you get a nice two week vacation from our wee voices nattering on and on, answering your questions, picking apart your comics.  Finally!  Some peace and quiet for your holidays!  Doesn't that sound pleasant?

Anyway...after the jump!  More art!  Lots of links! A hastily assembled and incomplete "Best of" list! And also: Show Notes!

Another great piece by Gar. We owe that man an "Eternals" debt of gratitude! (Ha,ha! See, because Kirby did The Eternals and...?)

All right, so as you may recall, last episode we answered four questions and had something like forty-seven questions remaining.  Did we get through them all in one two hour podcast, you may be asking...?

Well, no.  but we did manage to do the following:

0:00-8:03:  We open with a delightful reading from Graeme of a well-loved holiday sketch.  Then we go on to discuss Graeme's emerging status as a Canadian broadcasting superstar, internet deadlines, just about everything but comics.  Because (as you know by now), that's the way we roll.

And you know, as long as I'm posting multimedia links, I wanted to draw your attention to a few things, in case you missed them:  a short but sweet interview from Al Kennedy of the famed House to Astonish podcast over at The Beat!; an all-superhero sketchcast from The Irrelevant Show with most of the sketches written by the brilliant Ian Boothby (his Superman vs. The Parasite sketch struck a special silver-age nerd sweet spot for me); and the two Cheat Sheets Abhay has done to date, featuring voice work from the brilliant Tucker Stone and yours truly, the first on the 1960s

and the second on Rap Music.

Oh, *and* speaking of Tucker Stone, I know I've clued some of you guys in to the great Comic Books Are Burning in Hell podcast, but I should also mention that if you like Wait, What? and you like movie nerdery, you should check out Travis Bickle on the Riviera, a fantastic movie podcast by Tucker and Sean Witzke that is always entertaining and funny and smart.  I really should've hyped it sooner but I am Lay-Zee  (Kryptonian scientist and wastrel).

Whew!  So between this episode and all of the above, you should have enough to keep you busy during our two week absence, right?

8:03-10:35: But here's some comics talk--about Action Comics #15 by Morrison, Morales, and crew.

10:35-12:53: (Graeme also really liked Doctor Who #3 by Brandon Seifert & Philip Bond.)

12:53-17:10: Because it was a free comic on Comixology, we also discuss the first issue of the Star Trek/Dr. Who Assimilation2 comic by Tony Lee and J.K. Woodward.

17:10-44:32:  Question! from Matthew Ishii (and Dave Clarke):  “'Re: Leinil Yu overselling emotion in scenes. I was at a talk by Colleen Doran (comic writer and artist on a bunch of things) who criticized the comics industry as a whole trending towards this, because of the impact of Jack Kirby and Steve Ditko. You guys are all about Kirby, do you think this is a fair comparison.' I'd be interested to hear you guys talk about that, as a guy who loved manga and hated superheroes his entire childhood." We also talk about the current situation with Gail Simone and DC.  We also bleep ourselves.  (Maybe for the first time ever?) We also talk more about what the hell DC is thinking?  Also, Graeme gives a New52 pitch for Scooter that is, frankly, stellar.  And since he's been rereading the Fourth World Omnibus, we also discuss Kirby (because how can we not?) and his amazing run on Jimmy Olsen.  And also Geoff Johns.  (Oh, god.  I really should've broken all these out into individual time-stamp entries.  Sorry!)

44:32-53:27: Question! from Matthew Ishii:  "Q: What comics are famous and considered classics, when the writing was mediocre but the art elevated it?  Likewise, name some comics where the art was pulled from good to great by the coloring or the inking."

53:27-54:19:  Non-Question! from David Oakes:

"'Waiters' Are Fans, Forgo Long Explanation"

54:19-57:35:  Question! from Dan Billings:  "Why is it so hard to drop books? I am heading into the shop today and realize I am reading 16 books – money-wise, that’s crazy and quality-wise, there are not 16 good books coming out this week. Or is this something I should address with my therapist instead?"

57:35-1:02:56:  Question! from Ian Brill:  "This has nothing to do with comics but I want to ask Graeme something I’m surprised it took me this long to figure out to ask. When you’re writing career started was it difficult to switch to the American spelling of words? Do you sometimes find your original education colouring your spelling choices, leading you to have to apologise to your editors?"

1:02:56-1:03:18: INTERMISSION ONE (of one!)

1:03:18-1:14:43:  And we're back and right into… Question! from moose n squirrel:  "What’s the deal with Alan Moore and rape? […] Somewhat related to this, a second question: if all the horrible sexist shit in comics and comics culture were swapped out with horrible racist shit, do you think comics readers would take the same ho-hum attitude towards it all? Like, if Alan Moore put scenes of, I don’t know, Black people being lynched in all of his comics, would people just shrug and say, “oh well, that’s Alan Moore, when you read an Alan Moore comic you’re bound to get some gratuitous lynching” the way they seem to do with his gratuitous rape, or would they see some line being crossed? Is it the case that comics culture is grossly sexist and racist to boot? Or is there a reason why it’s sexist but not (as) racist?"

1:14:43-1:17:35: Question! from T:  "Also, do you think such a think as “house styles” still exist at the Big 2, either for whole companies (e.g. a “Marvel Style”) or for lines within companies (e.g. the “Vertigo style,” the 90s X-Men Harras house style, the Weisinger Superman house style, the Schwartz Bronze Age Superman House style, the Schwartz Silver Age House style), etc. If there are current house styles at the Big 2, what are they? Are they art-based house styles, like when people used to say there was a “cartoony art” house style in the Berganza Superman books? Is it a writing-based house style, like people claim Ultimates had in the beginning. Is it a comprehensive art/writing house style like the 90s X-books had? If there are no more things as unique house styles at the big 2 anymore, what do you consider to be the last example of a true, unique “house style” in the Big 2?"

1:17:35-1:19:38:  Question! from T:  "Oh, last question: Does the abysmal state of Jeph Loeb’s writing for the past year show that he’s gotten somehow much worse than he used to be, or is it proof that his earlier, praised work was overrated and is now due for critical reappraisal?"

1:19:38-1:25:31:  Question! from T:  "Okay, Marvel or DC promises you they will hand over the reins of your all-time favorite character or concept to a certain writer for a guaranteed 100-issue run, and this run will not only be the only place to read about your favorite character or concept, but no one else will be allowed to write said character or concept during this duration, this 100-issue run will have zero editorial edicts and the writers will have total free rein over the concept and can do whatever they want. Also, if you don’t accept this deal, there will be no comics, adaptations, guest appearances, or anything with your favorite character or concept for a 10 year period. Yes, a 10 year moratorium, even if we’re talking Batman, Justice League, Avengers, or Wolverine. (Okay, so this is a far-fetched, impossible concept I know, but just go with it). Your choices are:

1) Jeph Loeb 2) Brad Meltzer 3) Chuck Austen 4) Mark Millar 5) Brian Bendis

Which one do you trust the most with your favorite character/concept?"

1:25:31-1:32:09: Question! from Ben Lipman:  "What’s the deal with people acting like Alan Moore is the only writer with rape in his works? Isn’t he just working within the tropes/archetypes of the genres he works in? Isn’t it weird to ignore all the acts of violence in his works, to only focus on the sexual violence? Moore has a rep for writing about rape, despite that sex fills his works and is mostly shown shown as a positive life-affirming experience – I would say positive sexual encounters far outweigh the negative one’s in his works. Is it perhaps the fans/commentators who are in fact fixated on rape? Did JG Ballard have to put up with this shit?  What would it take for Jeff to end his financial boycott of Marvel? What steps do they need to take to get him back?"

1:32:09-1:32:56: Question! from Adam Lipkin:  "It seems that the inevitable “Wait, What?” Drinking Game has to have a rule requiring listeners to take a drink every time Jeff talks about editing something out and then never actually doing so.  But after the last episode, there needs to be a rule for times when he talks about editing something out and then actually does so (but still tells us something was cut). Is that a sip, a chug, or some other amount?"

1:32:56-1:37:04:  Question! from gary:  "Graeme, if you had to replace Jeff with another host from world of comics (writers, artists, editors, etc), who would you replace him with and why? Jeff, if you had to replace Graeme with another host from the world of comics (writers, artists, editors, etc), who would you replace him with and why?  And together, if you had to take on a third person on this podcast, who do you think would fit into the rhythms of your podcast?"

1:37:04-1:40:52: Question! from gary:  "If you were given free reign of What If, what would be the titles of your first 3 “What Ifs”? Also, if you were given free reign of Elseworlds, what would be your first 3 genre mash-em ups?"

1:40:52-1:42:32:  Question! from Tim Rifenburg:  "I was curious if you guys specifically use a pull list for certain books or do most of your buying “off the rack”. Would you be buying less books if you did not have a pull list?"

1:42:32-1:45:12:  Question! from Matthew Murray:  "In light of recent news what are some lost gems of Vertigo? What uncollected series should we be searching back issue bins for?"

1:45:12-1:50:08:  Question! from Brock Landers:  "Also, coming from the generation who entered comics when the Wolfman/Perez Teen Titans and Claremont/Byrne X-men were the two biggest books, I had this notion.  Have DC horribly mishandled the Teen Titans franchise since Wolfman/Perez or was it just a product of it’s time and it doesn’t have the same conceptual vitality and depth as the X-men?"

1:50:08-1:52:50:  Question! from gary:  "What comic book by Matt Fraction is most like a Waffle Cone? What Matt Fraction comic book is least like a Waffle Cone? Please elaborate on both."

1:52:50-1:54:13:  Question! from Kag:  "Where should we, as comic readers, be hoping Karen Berger lands? At an existing mid-major (IDW/Dark Horse)? At an existing “art house” (Top Shelf/Koyama)? At a major publishing house (Random House/Penguin)? Or do we want her launching a startup?

1:54:13-2:11:43:  Then, instead of going on to the next question(!), we decide we should turn to Jeff's cobbled together "Best of/Last Minute Comic Book Gift List," cobbled together in part from my introductions.  As mentioned herein, this list is far from exhaustive and there are so many tremendous works out this year I didn't read that I almost didn't put together a list.

Anyway, because I want you to have access to something like a list from me,  here it is:

• Empowered Vol. 7 by Adam Warren:  Didn't get enough love this year I thought.  The fight scenes in this book are master classes in comic book pacing and storytelling.  Blew my mind.
• Action Comics #9 by Grant Morrison, Gene Ha & others:  An amazing single-issue comic, a jaw-dropping act of bravado in a work-for-hire context, and a surprisingly persuasive defense of work-for-hire.
• Double Barrel by Zander Cannon and Kevin Cannon:  If you have any kind of access to a digital comics reader, you should check out this great serialization/anthology/comic book clubhouse.
• Pope Hats by Ethan Rilly (issue #3):  Not cheap, but a beautifully illustrated story about a real and recognizable world that is all the more enchanting for it.
• Saga  & Multiple Warheads:  Two strangely similar-but-different casual sci-fi epics, one from Brian K. Vaughan & Fiona Staples, the other from Brandon Graham (whose other title Prophet just missed making this list).
• Marvel: The Untold Story by Sean Howe:  Not a comic but an amazing (and amazingly ambitious) history of Marvel Comics.
• New Deadwardians by Dan Abnett and I.N.J. Culbard: A spiffy little read and will make a great trade.
• The Voyeurs by Gabrielle Bell:  Turns out this left Graeme cold, but I really loved this collection of quasi-dreamlike autobio comics.
• Bandette by Paul Tobin and Colleen Coover:  Digital-only, and the three issues to date are gorgeous, funny, and fun.
• Popeye #3 by Roger Langridge and Tom Neely:  A fantastic single issue where all of the love and craft by Langridge and Neely manages to transcend any of my reservations about work-for-hire being done in the style of the original creator.
• The Lovely Horrible Stuff by Eddie Campbell:  Only $4.99 if you buy it digitally (which is how I read it) and the way Campbell uses various digital tools made the book feel like one of the first real "digital" comics I'd ever read.  Disquieting and fascinating.
• Gisele issues of Archie (esp. Archie #636 by Gisele):  I love Gisele, and apparently I love gender-flipped Archie and gender-flipped Jughead.  Yikes.
• American Barbarian and Final Frontier by Tom Scioli:  Read one in print, the other online [link:  ] and I adored them both.  Of course, I'm probably the perfect audience for Scioli's strongly Kirby-influenced style but I really admire how he tries to find a balance with pastiche work that is neither post-ironic nor knowingly arch.   It's super-sophisticated in its primitivism, I think.
• The End of the Fucking World by Charles Forsman:  An addictively dark mini-comic that uses its format for maximum effect. Forsman's a guy I can't wait to see more of.
• King City by  Brandon Graham:  Realized the trade of this only got collected this year, so some people may not have discovered it until this year…maybe you haven't discovered it yet?  If so, you should: it's a canny and addictive blend of slice-of-life and sci-fi adventure comics.

Other stuff Jeff dug:  The Valiant reboot; Shonen Jump Alpha; 2000 AD Digital; the digital reprints of Crying Freeman over at Dark Horse Digital; the second and final volume of the Kamandi Omnibus by Jack Kirby; and the amazing graphic novel adaptation of Donald Goines' Daddy Cool by Donald Glut and Alfredo Alcala.

Graeme agrees with some but adds three I didn't mention:

• Dustin Harbin's Boxes;
• The Crackle of the Frost by Lorenzo Mattotti and Jorge Zentner; and
• The Nao of Brown by Glyn Dillon

2:10:45-End:  Closing Comments!  Best wishes for the holidays and the New Year!  Join us in 2013 for more fun, yeah?

Oh, and right--the podcast itself!  That would be helpful to include, right?  I mean, it's on iTunes and everything, but that's not everything, is it?  No, not by half, it's not!  Feel free to warm your Christmas ears below:

Wait, What? Ep. 110: Let It Snow, Let It Snow, Let It Snow

And as always, we hope you enjoy...and thanks for listening!

nu52: wk 4: The Finaleing!

Running low on time, and I didn't have "clever" subcategories to go with it this week, so, here's the final 13 books in a single post.

ALL-STAR WESTERN #1: What a terrific comic! I thought there was a lot of thought and density in this book, and the art was scrumptious. VERY GOOD.

AQUAMAN #1: A solid debut, though it's really hard to judge what the series will actually be like -- this was mostly a bunch of "Aquaman is lame" jokes, and, clearly THAT's not a sustainable direction, month-after-month. I'll go, for the moment, with a solid GOOD, because the monsters seemed interesting.

BATMAN: THE DARK KNIGHT #1: Hey, look, ANOTHER breakout from Arkham! Hey, look, we end with a wrongly named character! This just seems like "the unnecessary Batman comic" to me. It wasn't terrible, or anything, but I don't see the reason for this to exist other than "showcase for Finch"... and does anyone expect him to be monthly on this book for 2-3 years? I don't. So: OK.

BLACKHAWKS #1: I mean, for what it is, it is absolutely competently done, but I don't really like GI Joe in the first place, and a DCU version doesn't fill my black heart with joy. I think, after reading all 52 now, this is probably the first one that will be cancelled because there's just nothing to draw me in (though, honestly, it might work fine as a TV show) when compared to "proper" superhero comics in the same universe. EH.

THE FURY OF FIRESTORM #1: Oh, god, ow. Wow, that was miserable. First, Jason and Ronnie as contemporaries kind of sucks. Second, having "Firestorm" without a disembodied co-pilot kind of misses the entire point of the premise. Third, the "Fury" idea is kinda sorta amusing, but way way too much of being Firestorm in the first place was just skipped over to get to that last page beat. Fourth, scientists in the DCU are now just handing out "superpower bombs" to high school students now? Fifth, really? THAT'S the origin? "he presses a button" Really? Sixth, um what's with the other girl who was there, why didn't she get powers too? I thought this was pretty lousy overall -- AWFUL.

By the way, I guess this means that the whole "Firestorm is, like, a bomb that's going to explode" or whatever that plotline was... that will never been resolved, eh? I'm super curious to what the intended resolution of that one was. If you knew it, drop me a line, eh? I KNOW someone from DC is reading these....

THE FLASH #1: Nice art, nice page layout, solid enough story -- more enjoyable than the Flash has been in a long while -- GOOD.

GREEN LANTERNS: NEW GUARDIANS #1: Interesting choice to start with the origin of Kyle, which made this easy enough to follow, but then it leads into the Rainbow Corps stuff, and I'm all meh about that -- no real plot here yet, or notion of what the book is ABOUT. So... OK?

I, VAMPIRE #1: Beautiful moody expressive art... but I had a really hard time following the who and the what and the when of it all. That's probably because I read thirteen comics in one sitting!  OK

JUSTICE LEAGUE DARK #1: Going in with extremely low expectations helps, yes it does -- I thought this was solid, if unspectacular. A low GOOD?

SAVAGE HAWKMAN #1: Textbook of how NOT to do a reboot -- it's predicated on (at least I think) wanting to break the curse of Hawkman (which I take to mean the through-the-years romance dealie?), but you have to KNOW that to understand the who and what at all. And then when he tries to burn the suit, it somehow bonds to him or something equally incomprehensible. The art was vaguely nice, but there's nothing sympathetic on display, and I felt like I walked into the middle of someone else's D&D campaign where they has a bunch of poorly explained house rules. Pretty AWFUL.

SUPERMAN #1: It MIGHT be in relationship to ACTION, but I sort of think this was a bad comic all on its own. You know what it felt like to me? A comics by and for old people, but who were really really trying to be "hip" or modern, but not at all seeing what and why and how they were entirely missing was IS modern. Also, a special double-ugh to Clark's new hairstyle, which almost sorta worked in ACTION, but looks beyond shitty here. This book smells covered with group-think, and I thought it was sadly AWFUL. (Yet, it was ironically the best-seller this week of the 13)

TEEN TITANS #1: Not enough happened for me to judge the tone or direction of this series, but it sorta worked for me anyway... at least as long as I tell myself "this is the only Titans, ever" OK, I thought.

VOODOO #1: Late night cable in comics form. It started off like some sort of cheesy Skinamax soft-core, then, boom! rubber monster at the end of it. I don't think you can do a book that's nothing but antagonists, and find an audience, but I guess we'll see? At least it was pretty, but oh so very EH.

Sheesh, finished! I never want to do that ever again!!

I have a notion for a "what did I learn?" piece, but it might be better suited after we've got most (or all) of a month of #2s behind us.

Still, as always, what did YOU think?

-B

Graeme Takes On The New 52. All At Once.

You know, before DC Comics so politely sent me the entire run of the New 52 launch issues, I don't think that I'd ever read an entire month's worth of a superhero universe before. I have to say, it's kind of exhausting. But that doesn't mean that I'm not going to try and run down very quick capsule reviews of all 52 right here, right now, as Fatboy Slim once said many many years ago oh God I am so old. ACTION COMICS #1: In retrospect, maybe my favorite of all 52 books, this one feels like it actually understands how to reboot a concept without overwhelming the reader with information or assuming that they already know everything; Grant Morrison's script has some of his shorthand dialogue, but it's dense and filled with "action" throughout, and this feels like a satisfying chunk of comics that also lays the groundwork for future stories. Very Good.

ALL STAR WESTERN #1: It's heresy amongst the comicsinternet to admit that I'm not a massive fan of Justin Gray and Jimmy Palmiotti's Jonah Hex, but it's never really done a lot for me. That said, this felt solidly Good, setting up the new status quo for the character - and offering enough introduction to the character for new readers - with some really nice art by Moritat. I'm amused by yet another "Gotham is built upon conspiracy and evil" storyline so soon after last month's finale of Batman: Gates of Gotham, though.

ANIMAL MAN #1: Oh, this was so almost good. Jeff Lemire's writing is... good, I think, although I feel like he stumbles on the more domestic side of things here, and I like the subtle repositioning of this series as a horror book. But the art is just not serving the writing well at all; Travel Foreman can be an interesting stylist, but he ruins scenes here, most importantly - and, I think, damningly - the final page, which is robbed of its full impact by some weird staging that basically wastes the top half of the page. Also not helping, the inks by Dan Green (which veer between too heavy and almost weightlessly light) and some very dull, flat colors by Lovern Kindzierski. Eh, then, because of the art.

AQUAMAN #1: Yes, Geoff, I get it: Aquaman isn't a comedy punchline anymore. I would've preferred it if we'd had a chance to decide that for ourselves instead of suffering through the "blogger interview" midway through the book, but overall, this is a pretty Good first issue, setting out its pitch, introducing its characters and having a decent enough hook for the next few issues. That said, if you were reading Brightest Day, you pretty much know what's in here already; this is very much a continuation of what was happening with the character in that book.

BATGIRL #1: I don't know if this was flop sweat or something else, but this just didn't work as well as I'd been expecting it to. Maybe because it's so joyless, something that writer Gail Simone didn't seem to have a problem expressing with the character in Birds of Prey, but there really is something very... rushed and filled and self-important about this issue that made it feel like you were being hurriedly brought up to speed by someone who wanted you to know how serious everything was. World's dumbest cliffhanger, too. Eh.

BATMAN #1: Greg Capullo's art is surprisingly nice - Yes, a little too MacFarlane for my tastes, still, but what can you do? - and Scott Snyder's story is... I don't know. Nice, but somewhat slight, perhaps? I'll be coming back for a second issue, but I think that's more down to goodwill for the creative team than anything having particularly wowed me with this debut. Okay, I guess.

BATMAN AND ROBIN #1: Now this was much more my speed, perhaps because I enjoyed this version of Batman more - One who seems to be dealing with his trauma after X number of years processing survivor guilt as Batman, instead of just burying it - than the one in Batman or Detective (And, really, I can't believe that a linewide reboot didn't result in a slightly more consistent portrayal of Batman. He feels like a different character everytime he appears, like Superman. That doesn't seem like a good thing to me), or perhaps because there was more of an urgency on display here than in Snyder's title. Either way, Good, and a much better "first issue" than the last time Peter Tomasi and Pat Gleason took over the book.

BATMAN: THE DARK KNIGHT #1: Talking of wildly varying characterizations, this book... uh... exists. I don't know what to say about it. If you want a generic Image-style take on Batman, complete with pouty mouths from David Finch and overdone dialogue by Paul Jenkins, this is for you, I guess. I was completely underwhelmed, and laughed out loud as the kids say at the reveal of "One-Face" at the end of the book, especially because he still has half of his face scarred. Awful, but I'm sure it'll have its audience. Oh, and Jaina Hudson is the new Jezebel Jet.

BATWING #1: The first of the "This was much better than I expected" books of the 52, I found myself drawn into this more than I'd thought I would. Maybe it was Judd Winick's take on the character and his secret identity (A cop working outside of the system, because the system is so corrupt), or perhaps it was Ben Oliver's lovely, weirdly hazily dream-like artwork, but this convinced me to try the second issue, which I really wouldn't have thought would've been the case. A low Good, perhaps, but I have to say: This feels much more like a mini-series than an ongoing, already.

BATWOMAN #1: This, however, was a letdown. Not because it wasn't Good, because it was. But I'd been expecting more, spoiled by Greg Rucka's run on Detective. The writing here - by artist JH Williams and co-writer Hayden Blackman - was fine, and hit all the right notes, but didn't surprise me or have the emotional depth that Rucka's had, and the art, while beautiful, also lacked the impact or purpose of the original run. Even though I'll be back for future issues, and even though I enjoyed this, I found myself disappointed nonetheless. That's what I get for having high expectations.

BIRDS OF PREY #1: I'm not sure why, but this felt like it had too much space in it, if that makes any sense. What's here is fine, it's a perfectly Okay comic book, but it feels too empty for some reason, like something is missing. I can't quite put my finger on it, but something isn't quite right, like it's only half of the intended story or something.

BLACKHAWKS #1: I love Mike Costa's Cobra series for IDW, which is why it depressed me so much to realize how much I didn't like this first issue (The art by Graham Nolan and Ken Lashley didn't help; it's overly busy and not quirky enough to make me want to keep paying attention). You can't fault him for throwing the reader in as everything's already happening, but I didn't find any character particularly interesting, mysterious or even distinctive enough to care about, and as a result, the whole thing left me cold. Awful, sadly.

BLUE BEETLE #1: On the podcast, I said this was like the Blue Beetle we had before, but less so. Tony Bedard and Ig Guara make all the right moves, but it lacks the heart or originality to make me want to come back for issue 2. Eh.

CAPTAIN ATOM #1: Hey, everyone who's always wished that there was a Doctor Manhattan solo title spinning out from Watchmen, now you have your dream book. Sadly, it's written by JT Krul - who ruins the goodwill he'd built up from an Okay first issue by ending with a stupid "Is Captain Atom about to die?" cliffhanger (It's his first issue, so I think that question answers itself) - but, on the plus side, the art by Freddie Williams II is very nice indeed. If it gets smarter in future issues, it could end up being worth checking back in with in future, I suspect.

CATWOMAN #1: Oh, man, haven't I said enough about this already? Cheesecakey pandering with a depressingly unsexy tone and annoyingly passive lead character. Awful.

DC UNIVERSE PRESENTS: DEADMAN #1: I swear to God, this is like a black hole in my brain. I have read this book multiple times, and it really refuses to stay in there. Pretty much the definition of Eh for me, although I'll say that Bernard Chang never really gets the credit for his work that he deserves. I'd love to see him paired with less garish colorists sometime.

DEATHSTROKE #1: Fun last-minute twist aside, there's little in this book that appeals: I don't care about the character or the machismo on display, and Joe Bennett has always been hit-or-miss (with an emphasis on the latter) for me. Eh.

DEMON KNIGHTS #1: Punny title aside, Paul Cornell pretty much won me over with the sense of humor on display in this one, much like Jon Rogers did the same in IDW's Dungeons and Dragons book (which this is oddly reminiscent of, it has to be said). Weirdly parochial, but all the better for it. Very Good.

DETECTIVE COMICS #1: Tony "Salvador" Daniel - Has he ever used his middle name before? - aims high and doesn't quite make it, but oh man, can you see him try. There's nothing particularly wrong with this, but there's nothing particularly right, either; it all feels familiar, and more workmanlike than previous attempts. Having Daniel be writer/artist on a Batbook when you also have David Finch doing the same elsewhere in the same franchise feels a bit weird to me, for some reason; I feel like Daniel comes off worse, even though he's better at deadlines and arguably better as a writer, too. Eh, and that's only because I wasn't as appalled by the final page as many were.

THE FLASH #1: After the disappointment of the last Flash run, color me shocked to have enjoyed this as much as I did. Francis Manapul's art is just great - that opening double page splash! The page of Barry in his apartment! - and it turns out that his writing (along with Brian Buccellato) is much faster-paced and more fun than Geoff Johns' on this book. I like the new Barry Allen, and love his relationship to Iris in this new continuity. More of this, please. Very Good.

FRANKENSTEIN, AGENT OF S.H.A.D.E. #1: Another frustratingly "almost" effort from Jeff Lemire - I know where he's going! I just wish he'd made it there! - with equally frustrating art from Alberto Ponticelli, which is just a little too scratchy for its own good (and, like Travel Foreman in Animal Man, a little off in the framing when it really counts). There's a lot to like here, so I'm tempted to put this down to first issue nerves and hope that this book ends up sorting itself out down the line. That said, this is Okay, and I think that the just-finished Xombi played in the same sandbox in a much more entertaining and original way...

THE FURY OF FIRESTORM THE NUCLEAR MEN #1: Of the two Gail Simone books this month, this is the more enjoyable, but it has almost as much crammed into it as Batgirl, leading to a weirdly claustrophobic feeling. That said, I like the new spin on the concept (and the title), and wonder where, exactly, we're going from the end of this issue. Is this going to be DC's second attempt at doing a Hulk book? Yildiray Cinar's art is weirdly reminiscent of Francis Manipul's as far as the inks go, but I'm not sure if it fits here just yet... All in all, an Okay start, but with the potential for either greatness or creative dead-ending within the year.

GREEN ARROW #1: It's as if JT Krul, Dan Jurgens and George Perez set out to create the most generic, boring superhero book imaginable... and succeeded. Crap.

GREEN LANTERN #1: Considering how self-important (and self-conscious) this title had become before the relaunch, it's surprising that Geoff Johns and Doug Mahnke manage to essentially play this first issue for laughs and get away with it. Good, although I found myself wishing that the last page had been held back for a few months, if only because I really enjoyed seeing dick Hal Jordan so much.

GREEN LANTERN CORPS #1: I was always going to be a sucker for this book; John Stewart and Guy Gardner are my favorite Green Lanterns, Peter Tomasi's previous run on the title was something I really enjoyed, and there's no Hal Jordan or Kyle Rayner to harsh my buzz. Sure enough, I really dug this; uberviolent opening aside, I appreciated the "this is where our leads are" intros before the mystery was revealed, and the final page felt weighty and dramatic enough to bring me back next issue. Sure, Fernando Pasarin's art feels like a little bit of a letdown after that Doug Mahnke cover, but it's still pretty great in a "Bryan Hitch but more approachable" way. Very Good, for me.

GREEN LANTERN: NEW GUARDIANS #1: And then there's this. This is just a bit of mess, whether it's the loss of the "some time ago" caption at the opener explaining that the book opens with a flashback, or the failure to really explain who all the different Lantern characters are, it seems sloppy and at odds with the other Lantern books, and Tyler Kirkham's art doesn't necessarily help, either. Awful.

GRIFTER #1: Finally answering that eternal fanboy question "What do you get if you cross Sawyer from Lost with ROM, Space Knight," this is Okay for those of you who enjoy this kind of thing; Nathan Edmonson's script is a bit light on explaining things, but I suspect that's intentional, and CAFU's art seems too polite for the story being told for my tastes. I don't know; there's nothing wrong with it, but there's also nothing that feels especially compelling about it, either, if that makes sense. I think Fringe probably does this kind of thing better, really.

HAWK & DOVE #1: I wanted to like this book so much, and then Rob Liefeld couldn't stop himself reminding me that he's a terrible, terrible artist. Everything happens at crazy angles! People's mouths change size without explanation! Everyone looks permanently in pain because of all the scratches on their bodies! It's a shame, because you get the feeling that Sterling Gates is really trying to work with Liefeld's energy, but he's overwhelmed by it on this issue. Truly, unhappily Awful.

I, VAMPIRE #1: On the plus side, Andrea Sorrentino could pass as fake Jae Lee if the position ever opens up. On the minus side, this is worryingly murky in terms of story (and storytelling; it's not just Joshua Hale Fialkov's script here, the art really does it no favors), and reads like someone's idea of doomed romance a la Twilight, but even more melodramatic. I'm sure there is a massive audience for this, but I found it pretty Eh at best.

JUSTICE LEAGUE #1: Hey, remember when everyone was talking about this book? Well, not much has changed since then. I like it, for what it is; I like dick Hal Jordan, I think there's a reasonably strong mystery introduced and I don't care that the entire team isn't in there despite the cover. But I'd be lying if I said I thought it was more than just Good; there were other books that the relaunch could have led with that seem better suited for all-new readers and a heavy media blitz.

JUSTICE LEAGUE DARK #1: It's not quite Shade Peter Milligan - or, for that matter, Secret Seven Milligan - but there's the potential for getting there with this opener (I really liked the perversity of the Kathy reveal), and Mikel Janin's art is lovely. Slightly underwhelming, I've got a lot of faith that this Good first issue will turn out to be a very good series.

JUSTICE LEAGUE INTERNATIONAL #1: Potentially Green Arrow's main competitor in the "most generic superhero comic" race - And Dan Jurgens is involved with this one, as well! Clearly, this is karma for killing Superman twenty years ago - this just feels like a subpar fill-in to a comic from some point in the 1980s, complete with inexplicable Margaret Thatcher cameo appearance. Considering the potential for a JLI series spinning out of the surprisingly strong Generation Lost mini, this is a tiny bit heartbreaking. Awful.

LEGION LOST #1: The good: Pete Woods' art is just amazing here, really, really great stuff. The bad: Unless you're a Legion fan already, this is likely entirely impenetrable stuff. I love the Legion, and this almost made no sense to me whatsoever. It doesn't help that important things happen off-panel (So, Timber Wolf just picked up the bad guy and no-one tried to stop him?), the characters have no real introduction and just way too much happens to let the reader have any time to make sense of it on first, second or even third reading, because there's not enough space in the book for everything. What it ends up as, then, is a good-looking mess. That's what we call Awful round these here parts.

LEGION OF SUPER-HEROES #1: I've really, really tried to convince myself that New Levitz Legion is just like Old Levitz Legion, but I think this is the issue when I realized I couldn't keep it up. I'm unsure whether it's Levitz or his circumstance, but everything feels so jumpy and fractured that there's no chance - or, it seems, space - to build up the long running soap operatics that I loved the first time around, with everything ending up sacrificed for whatever big storyline that I find myself uninterested in. Eh as much as I wish it were otherwise.

MEN OF WAR #1: Someone, somewhere, found this to be more than some generic "Are you really a man?" cliches wrapped around a superhero mystery, but it wasn't me. Awful, and the back-up strip was even worse.

MISTER TERRIFIC #1: Another book that I really, really wanted to like - Although that's almost entirely down to the original release info containing the hilariously melodramatic line about him fighting "science gone bad!" - and the actual book... kind of lived up to my expectations, perhaps? There's a lot to like here (The new origin, with a time travel mystery replacing the Spectre's telling him "Hey, that white guy? You should rip him off," for example), but it doesn't come together properly, and ends with a cliffhanger that just makes no sense in a first issue ("Is this character acting weird? How would you know! You've just met him. Tune in next month to find out if he is or not!"). But... Again, maybe it's goodwill, but even though this was just Okay, I'm holding out hope for better soon.

NIGHTWING #1: I came to really like Dick Grayson when he was Batman, so why do I find almost everything in his new title feeling like it's a step backwards? Whether it's Dick visiting the circus again, or telling us how good it is to feel like himself, all of it feels more forced and less genuine than it should. Eh, and most of my fondness for the character disappears entirely as he disappears behind a pile of dialogue and sentiment we've heard before.

OMAC #1: If it wasn't for Superboy, this might have been the best surprise of all 52 books. Somehow, Keith Giffen and Dan Didio manage to channel Kirby's sense of fun, if not his sense of originality - This is a reboot of an existing concept, after all - by smooshing together Office Space, the Hulk and the original OMAC to come up with something that feels like it owes as much to Giffen's own Ambush Bug as it does Kirby, and it... weirdly... works. It's very much not for everyone, but I think that's true of the original OMAC as well. It's an odd feeling to think that Dan Didio came up with one of the most individual and arguably the most fun of all of the New 52 books, but there you go. Very Good, and long may it stick around.

RED HOOD AND THE OUTLAWS #1: I think we can also file under "Things I've said too much about," but short version: Not for me even before we hit the "Starfire is an amnesiac bimbo nymphomanic" thing. Crap.

RED LANTERNS #1: If Ed Benes wasn't drawing this book, I have the strangest feeling I would have actually liked it, because Peter Milligan's script - or, more properly, his narration - is weirdly compelling here, and feels oddly subversive to all the Geoff Johnserisms in the scenes surrounding it. If he ends up carrying that further in future issues, I could see this becoming a sleeper hit for the the cool kids who are perfectly okay with women who can twist their bodies to simultaneously show off their butts and their breasts at the same time. Eh, with chances for better later.

RESURRECTION MAN #1: Clearly, it's books dealing with life after death that I have a problem with. Like the Deadman book, this one also barely registers after multiple re-reads. Eh, then.

THE SAVAGE HAWKMAN #1: For everyone who ever thought "What would make Hawkman awesome would be if his armor and wings came out through his pores like Warren Ellis' Iron Man!" then this is apparently the book for you. For the rest of us, this is a book where Hawkman tries to burn his costume for some unknown reason, then gets attacked by it, and then it turns out it's living inside him or something. It really is as bad as it sounds, although Philip Tan's watercolor art is rather nice in places. Awful, though.

STATIC SHOCK #1: It's modern Spider-Man, with the rest of the Milestone universe seemingly playing the supporting cast. It's surprising just how ready I was for that book, without ever realizing it. Good, although I'm already worried about it, now that we know that John Rozum is off the book by #4.

STORMWATCH #1: Like Batgirl, it's possible that this book fails because the writer was far too aware of what they had to do; there's too much empty exposition in this issue, and it's an issue that needed useful exposition. Paul Cornell doesn't quite catch the tone of Warren Ellis' characters, and the disconnect is obvious in a way that isn't obvious; no-one sounds quite right, and everything feels off-kilter as a result. It's a book that simultaneously feels dense and sparse, and Miguel Sepulveda's art, static and heavy, doesn't help with that feeling. A low Eh, and it should be much better.

SUICIDE SQUAD #1: Forget skinny Amanda Waller; this book has way bigger problems. You know, things like an awkward structure (Not helped by multiple artists working on the same issue), a ridiculous set-up and thoroughly flat characterization throughout. Disappointingly Awful.

SUPERBOY #1: I was genuinely surprised by how much this book feels like science-fiction instead of a superhero book, at least in this first issue, and how there's an interesting lack of moral certainty at show just yet (I'm sure that'll change in time). With RB Silva's clean art and Scott Lobdell's strongest script for the relaunch by far, this is Good stuff.

SUPERGIRL #1: This is also surprisingly Good. A complete reboot for the character, and a chance to start from a personality closer to Sterling Gates' work with the character - Probably the character's most recent high point - instead of the wishy-washiness of the origins of the previous version, this issue isn't showy in the slightest, but gets the job done nonetheless.

SUPERMAN #1: Oh, oh, oh. Oh, Superman. I guess, if nothing else, this issue does provide an alternative to Action Comics, mainly in that Action was really good, and this isn't. Where to start? The confusing opening (Is the new Daily Planet built? It would appear so on page 2, but I'm still not sure if that was meant to be a glimpse into the future or not. If it had been rebuilt, would the previous site still have the remains of the old one?), the hilarious scenes of Lois et al discussing journalism ("Print is dying!"), Clark being bitter and mean to Lois, the genuinely horrible examples of Clark's journalism... There is so much wrong with this issue, but primarily I think the underlying structure is the biggest problem: Too much is, again, forced into too small a space, and this time, it's combined with a super brawl that is neither exciting or even interesting, leaving the impression that Superman's life is dull, full of sniping arguments and a ham-fisted idea of how journalism works. It's a mess, and one not saved by Jesus Merino's sterling attempts on art. Awful, and maybe the biggest disappontment of the bunch.

SWAMP THING #1: Talking of wordy, this is another overly-verbose book that could've easily dialed back the exposition to sensible levels and become infinitely better as a result (The whole Superman scene in particular felt unnecessary). That said, like Animal Man, the horror tone works and there's definite potential here. Okay, but greedily, I wanted more.

TEEN TITANS #1: It's a slow start, true, but I'll admit to being sucked in to Scott Lobdell's plan of essentially running one story between this and Superboy - although that final scene in both books has different dialogue and staging in some parts, which seems a completely avoidable mistake to me - and enjoyed this much more than I was expecting from early previews. A high Okay - I still have my issues with Brett Booth's art, I'm sorry - and I might even keep going on this, at least until the entire team is together.

VOODOO #1: You know, deep within this book, there's an interesting idea about an alien invasion happening in plain sight, with the alien as the central character. But getting there in this case means working through a lot of gender politics that's trying to have its cake and eat it at the same time ("Yeah, this is cheesecake, but look, the strippers are real women with class and babysitter problems and shit! But here's some more T&A anyway!"), and... I'm just not interested, ultimately. Awful.

WONDER WOMAN #1: Holy crap, it's the last book. I was beginning to think this would never end. And it's ending on a high note, too; sure, Brian Azzarello's script is sharp and fast-paced (if a little short on explanations, but there's time for those later), but this is entirely Cliff Chiang's show, and he doesn't even vaguely fail to deliver. This is a wonderful looking book - Matt Wilson's colors help considerably - and all the moreso because there's nothing else like it on the DC stands right now. The mythical quality of the story seems on a different scale to all the other New 52 books as well, and the strong individuality of the book makes it feel more like an event... and that's a nice feeling for a Wonder Woman book to have. Very Good, and one of the best books of the line so far.

Now, as the saying goes: What did you think?

Awesome!

So, Ben showed me his first real signs of higher intelligence yesterday. We got him some blocks a month or so ago, and he did a lot of the "raking claw" and mostly just knocked them around the room. Which is cool, and all -- he's still a baby.

But for the last week or so, everytime I've played with him I've tried patiently to show him how to stack the blocks. Didn't really work, he mostly showed interest in knocking down the stack, flinging the blocks all over the room. This might have been because he was so excited he couldn't control his fine movements, but I was starting to despair that he wasn't figuring it out.

Anyway, I'm reading last night, and Ben is playing in the living room, and I popped my head out every few minutes to check on him, and what do I see? He's sitting quietly, in the middle of the room, all alone, happily stacking and unstacking his blocks, gently grasping them and carefully placing them on top of one another.

W00t!

Here's some comics from this week:

JLA #103: "Everyone Cries" continues. This time, John Stewert cries. Apparantly everyone up at DC has forgotten that JS already cried a bunch considering he was responsible for the death of an alien planet, but, hey, that's OK, I guess, isn't it? ISN'T IT? Eh.

LEGENDS OF THE DARK KNIGHT #182: "War Games" part 2. There's some running, and some shouting, and lots of gunfire, and I can't really keep all of the characters straight, but that's OK, I guess, because it's just act one, and half of them will be dead before this is all over. But on the bright side, this is polybagged with a CD, and the extra pound of shipping costs per 3-4 copies doesn't have a credit issued to retailers, and our sales will be cut because the stupid things are bagged, and you probably can't find a mint copy... wait, that's not good, is it? Eh.

NIGHTWING #96: "War Games" part 3. Probably should be called "The Adventures of Tarantula, guest starring Nightwing", but who am I to complain? I like the info dump scene where Dick finds out stuff we already know, but, structurally, it should probably have happened before the halfway point, y'know? I'm not a big fan of these kinds of crossovers, can you tell? Eh.

GREEN ARROW #41: "War Games" part... wait! This isn't a "War Games" crossover... which is funny, because the plot looks almost exactly the same. Planning! At least this one is easier to follow... OK.

PUNISHER #10: "War Games" part... nah, that jokes not funny a second time. Hell, it wasn't funny the first time. Loathsome people being loathsome, and lots and lots of cursing! I liked this better when it was a comedy... Eh.

LEGION #37: I'm still not at all sure what anyone's motivation or reasoning here is, but Karate Kid and Timber Wolf came off pretty cool. Eh.

ACTION #818: Hitting! Shouting! Exploding! It's all action, all of the time! Supes acts like a big jerk, and no one thinks twice about it, and I keep flashing back to Kingdom Come and thinking "We've forgotten the cautionary tale, already?" It's hard to picture a universe where this is worth two-dollars-and-fifty-cents, isn't it? It took me, maybe 120 seconds to read this. 2 cents a second? Now that's a deal! Awful.

BMW's THE HIRE #1: This also took almost no time to read, but the difference is, it was at least a complete thought, had several vividly drawn characters, as well as a contemporary plot. This Matt Wagner kid can really draw, he might be going somewhere! On the other hand, it's sorta a commercial (even if the car doesn't actually exist), so I can't be as enthused as I might otherwise be. OK.

DC COMICS PRESENTS: THE FLASH #1: Two cute uses of the cover image, but there's nothing woodmaking here. OK.

ALPHA FLIGHT #6: Comedy super-heroes don't really work -- at least not as a team book, because everyone needs to be in on the joke. The worst part is how badly Marvel missed the bet -- there really is an actual audience for a good AF book. We sold like 40 copies of #1 in 3 days, and by issue #5 we're down to like 11. I can't imagine this is going to make it past the first year, can you? Hell, Marvel's even tried to disassociate it from the X-Men line (It's now a "Marvel Heroes" book), which is smart, because this is Awful.

X-FORCE #1: No, Liefeld still can;t draw, but it looks K3wl, and it has lots and lots of scratchy little lines, the kind boys like! Having said that, actually, this wasn't as horrible as I thought it might have been -- the plot lurched forward adequately, and it probably is what people want. Have fun, people! Eh.

AUTHORITY #14: The "last issue"... except that it's going to be rebooted by Brubaker is like 2 months. Have we learned nothing from Star Trek, people? If a concept if dying/dead, you should take a WHILE off to recharge the DESIRE of the audience for it. Six months, a year maybe -- Authority V3 #1 isn't going to sell any better than V2 #14 when it's coming out in October, fercryinoutloud! Anyway, this was slop -- revenge revenge revenge with a slight (and cynical!) attempt to be uplifting there on the last few pages. Too bad the Coup D'etat concept when nowhere... Awful.

TEEN TITANS #14: Solid, if non-exceptional, superhero stuff -- as an attempt to give Gar an "Arch Villian" it seems to work fine. Let's call it a low Good.

HULK #75: Except for all of the "The Helicopter will just fly itself!" stuff, I kinda liked this -- certainly better than the first 3 years of Jones' run. Darick Robertson's Hulk is kinda fun looking, too. Call it a high OK.

BLOODHOUND #2: I really quite enjoyed this. Good solid police story set in the DCU, with strong characterizations, a "gritty" hero who actually seems complex, and nice art. It won't make it past issue #12, though. because I think we sold all of 7 copies of #1, and that's not a big enough base to decline from. Gotta give this a chance though, folks -- I thought it was a very solid Good.

CAPTAIN AMERICA #30: "At the (thanks) of Batroc"? Even Kirkman can't make Batroc seem like an even slightly credible threat. Sheesh. Still, while it's the Chinese menu syndrome ("I'll have the Red SKull from Column A, and the Serpent Society from column B"), I enjoyed this enough to give it a low Good.

CHOSEN #3: Hahahahahaha! I know Lester will bag on this, but I liked the "twist" at the end (though I figured it out around page 5) -- I sorta want to put up a "spolier warning", but now that you know there IS a twist, you know what it is, right? Anyway, this isn't great comics, no, but at least we can't make Ultimate Jebus jokes any longer. Good.

And that's it for today. More later, as I read them.....

-B