Graeme Reviews! and more things that should have punctuation at the end of the title: 4/25 begins!

Here's the first thing that's wrong with AMAZONS ATTACK! #1: That it doesn't begin with a caption that tells you very clearly that you really should read Wonder Woman #8 before you read the rest of the issue. Even though I've been keeping up with the relaunched version of the alphabetically-chested Amazon's book, I started Amazons Attack! wondering just what the hell was going on, a feeling I could've at least partially avoided had I known to read the latest issue of Wonder Woman first, where one of the major "Wait, what?" moments was explained away. Here's the second thing that's wrong with Amazons Attack! #1: That it needed a caption explaining that you should read something else to understand the issue. As much as I liked to completely rant about Civil War, it did something right as far as this whole "event miniseries" thing goes that DC's books don't - It started with a relatively clean slate for new readers. Sure, there was a lot of backstory that fans knew that enhanced the whole thing, but a new reader could pick up the first issue of Civil War and at least be able to follow what was going on and why. Compare that to Infinite Crisis, which started with the conclusion of at least four different miniseries, not to mention the various tie-ins from ongoing books... or worse yet, compare that to this book, which seems to launch entirely not only from ongoing events in Wonder Woman's current title (including two things that directly tie into events in WW #8 and only really make sense if you read that book - even though they don't actually make that clear anywhere in AA! #1), but also from a forgotten plotline that was last mentioned in Greg Rucka's WW run, what, two or three years ago? In what world does that make sense, launching a new "event" book - this ties in with Countdown as well, down the line, apparently - that is based in a plot that even Wonder Woman fans don't remember, and not explaining it for anyone who isn't familiar with that plot?

(For those who've read the book and still don't know what I'm talking about, it's Circe's daughter, who's currently being raised by humans - I think? - as per Rucka's run. If I understood the dialogue in this issue correctly, that seems to be behind Circe's plan to ignite war between the Amazons and humanity.)

This is exactly my big problem with DC's current superhero direction - Not just that it's aimed at pleasing the fans, but that it seems to be purely aimed at pleasing the fans. Stories shouldn't be centered around past continuity that doesn't get explained or introduced, and if your new series ties in with something else that's currently out there then, firstly, what kind of launch is that, and secondly, you should make that clear to your readers instead of just assuming that they're buying everything already.

Despite the clear feeling that this is a book created by editorial edict and without any clear creative direction, writer Will Pfeifer does a pretty good job with what he has to work with - the idea that the Amazons attack Washington and symbolically chop the head off the statue of Abraham Lincoln in the Lincoln Memorial works in both a visual and comedically over-the-top blockbuster manner, and his writing has a nice rhythm to it. Pete Woods, meanwhile, provides art that yet again makes you wonder why he's not a superstar who misses his deadlines and yet wins awards every time he turns around. It's a testament to their talents that what should be a complete disaster turns out to be a pretty readable, Okay book. It's no World War III, at least, and shouldn't that be the main thing?

Hibbs does 4/18 (real fast)

Ow, back after 11 hours at the store – this week’s shipment kicked my ass. Man, do I hate it when FCBD books ship the same week as a big week of comics (and frickin’ PREVIEWS and WIZARD – those boys add some WEIGHT) And, OF COURSE, this was the day Rob needed to check out at 5pm so he could make it to some concert somewhere up north (I think…?)

Anyway, quick hit on last week before I go for the newest books….

WORLD WAR III: Except for the whole “You shouldn’t buy it!” thing, I’m in total agreement with Graeme on this – I figure you’re a big enough boy to decide on your own how much of a DC Universe fan/completeist to decide for yourself if it is worth your $10 or not. Me, I’m a big DC fan, and I thought this was a trainwreck of a comic.

Functional problem #1 is that it doesn’t seem to me that the two writers read each other’s scripts at all – the first two parts have the Martian Manhunter (the POV character) somehow having his telepathy wired into all of humanity at once, crippling him. This is flatly ignored in the second two issues. That kind of sloppy co-ordination makes an bad comic even worse – if THEY don’t give a damn, why should WE?

From my side of the page, it appears the writers were given a laundry list of plot points to address (and is it just me, or is it sloppy and stupid that ALL of the “One Year Later” changes seem to be occurring in a single week?) – that may be OK in a “crossing the Ts” kind of way, but it makes for shitty fiction, and is completely unengaging.

Then there’s the changes themselves – many/most of them don’t really make a whole lot of sense. What was that that happened to Supergirl… and why? Showing Jason Todd in a Nightwing costume without any explanation whatsoever (or even clarity that it wasn’t Dick) was awkward; Adam gets his “bad ass” credentials shown by killing “Terra” (wait, what? Who the hell was that?, but doing nothing at all against similarly un-super characters like, say, Wildcat or Green Arrow (honestly, what is Green Arrow going to do against Black Adam?), while at the same time showing the Marvel family to be completely ineffectual, it just goes on and on.

Then there’s stuff like the Aquaman sequence – apparently he summons… well, I have no idea who those giant guys were, certainly no one we’ve ever seen before – but how? He has no magical affinity that we’ve ever been shown before. Further, what exactly is he bargaining for? We’re shown the people in “Sub Diego” drowning – but it strikes me that there’s not a human alive who is going to take more than, say, five minutes to drown. Clearly that’s not possibly enough time for Arthur to summon some gods (?), make a deal, and complete a ritual. Why are the people drowning, anyway? It doesn’t seem to be connected to anything that Adam has done, or even the idea of WW3. But, OK, fine, he manages to raise Sub Diego – but why does THIS WEEK’s issue of Aquaman reference the cast having to swim back to Sub Diego, then?

This kind of top-down plothammering is absolute CRAP, and it cements in my mind that the DCU isn’t a place for me any longer.

And that’s a god-damn shame.

BRAVE & BOLD #3: Meanwhile, this is exactly the kind of book that makes me think I’ll be reading DC comics until I’m well into my dotage – fun, funny, action-packed, moral, trenchant. If the overall DC line had HALF of the charm and verve of this title, DC would be ahead of Marvel by twenty points or more. EXCELLENT.

OK, so that’s the PICKS, both WEEK and WEAK, how about for the BOOKS?

I’ll give you two things you really should pick up, as they’re solid comics: v2 of Ed Brubaker’s DAREDEVIL: DEVIL INSIDE AND OUT, where he amazingly gets Matt out of where Bendis left him in a way that doesn’t strain credibility as much as you thought it might. I also really like the second volume of Matt Wagner’s recent Batman work – BATMAN & THE MAD MONK. Boy knows how to draw, and how to pace a story.

Right, back tomorrow with the first look at this week’s stuff, and, probably, the second of at least six daily blog entries for this week…

What did YOU think?

-B

We mean it, man: Graeme doesn't love The Queen.

There's something really kind of sad about GOD SAVE THE QUEEN, the new Vertigo graphic novel by Mike Carey and John Bolton. Not necessarily in the content of the book itself, although it's hardly the greatest thing that you'll read this year - or even this week, arguably - but just the fact that it's being published at all in 2007. For anyone who's read almost any Vertigo in the past - especially any high-profile Vertigo - then this book seems like nothing so much as the comic book equivalent of a Vertigo tribute cover band. The plot is just a mash-up of old Vertigo series (Look, the main character is a mix of Fairy and human, just like Tim Hunter from Books of Magic! But she's a rebel who doesn't conform, and has a well-meaning teacher try and reach out to her just like Dane from the Invisibles! And there're Titania and Puck, just like in Sandman!) with Carey bringing nothing new to the mix whatsoever. The plot moves along in exactly the direction you assume that it will, with dialogue that rings hollow and as if the characters exist in service to the plot instead of having a life of their own. The art, meanwhile, is a lifeless glossy mix of photoreference and Bolton's obvious-and-slightly-creepy love for his main model's body (which, considering she's meant to be a teenager, is really kind of disconcerting). This is a book that would've seemed cliched had Vertigo published it ten years ago, so I'm not entirely sure why it seemed like a good idea now. Actually, forget I said that; this is clearly a grab for the fantasy dollar (and, in particular, the Sandman dollar; the press release that accompanied this - because, yes, I got this as a preview copy from DC themselves - begins with a pullquote by Neil Gaiman, and the back-cover copy states that the book "echoes the epic scope of The Books of Magic and The Sandman." Mind you, the back-cover also claims that Bolton's art "perfectly captures ...the lurid underbelly of modern London," even though there's nothing particularly lurid about the art, and especially nothing that suggests any specific place never mind London, so perhaps YMMV, as they say), but it's such a non-inventive one, literally retreading old ground and trying to recreate old glories, that it leaves a nasty taste in my mouth. Never mind that Vertigo has, for better or worse, kind of moved past its Sandman-corpse-fucking days (with the obvious exception of Fables, although Fables is, unlike this book, good. Mind you, wasn't the Fables anthology the last hardcover OGN that Vertigo pushed out...?) and yet this book reaffirms all the stereotypes and cliches about the imprint - What made Sandman so good when it started was that there wasn't really anything else like it available. It had a sense of identity and uniqueness - a reason to exist - that this entirely lacks. As melodramatic as it sounds, a book like this doesn't just rip-off Sandman, it's almost disrespectful to the series in doing so.

(Yes, I know; disrespectful to a comic book. What can I say? It annoyed me.)

And that's before you've even got me started on the Sex Pistols riff in the title (Justified by the dialogue in the book from our heroic rebel: "God save the Queen. And her fascist regime. I mean, this was my Dad's music, this wasn't cool. It was beyond cool. And it was all mixed up in my head with memories of him. A thousand, thousand lullabies."), even though the ultimate message of this book - Just say no, and love your parents - is the safe alternative that punk was pushing against, or the fact that, weirdly, the cover art is just two panels from inside the book with some nice design to try and disguise the fact; was the book late for deadline, or did John Bolton decide that he couldn't be bothered doing any more paintings for the project...?

It's a Crap book, and not worth the $19.99 that they're asking for it. If you have that money in your pocket and you haven't read Sandman, The Invisibles or any earlier Vertigo, you should pick up one of those books instead.

Arriving 4/25

Reviews soon, I swear.... 30 DAYS OF NIGHT SPREADING THE DISEASE #5 (OF 5) 52 WEEK #51 ACTION COMICS #848 AMAZONS ATTACK #1 (OF 6) ASTRO CITY THE DARK AGE BOOK TWO #3 BART SIMPSON COMICS #35 BATMAN CONFIDENTIAL #5 BETTY & VERONICA #226 BETTY & VERONICA DIGEST #174 BLOWJOB #21 (A) BLUE BEETLE #14 BOOKS WITH PICTURES #3 CARTOON NETWORK BLOCK PARTY #32 CASTLE WAITING VOL II #6 CATWOMAN #66 CONNOR HAWKE DRAGONS BLOOD #6 (OF 6) CROSSING MIDNIGHT #6 DAREDEVIL #96 DEVI #10 DORK TOWER #36 EXILES #93 EXTERMINATORS #16 FALLEN SON DEATH OF CAPTAIN AMERICA AVENGERS FANTASTIC FOUR #545 CWI FIRESTORM THE NUCLEAR MAN #35 HEROES FOR HIRE #9 HUNTERS MOON CVR B #1 (OF 5) JOHNNY HIRO #1 JSA CLASSIFIED #25 JUGHEADS DOUBLE DIGEST #130 JUSTICE #11 (OF 12) JUSTICE SOCIETY OF AMERICA #5 KNIGHTS OF THE DINNER TABLE #126 NEW AVENGERS ILLUMINATI SECRET HISTORY (PP #758) NEW EXCALIBUR #19 NIGHTMARES AND FAIRY TALES #19 NINJA SCROLL #8 OUTSIDERS ANNUAL #1 PLANETARY BRIGADE ORIGINS #3 (OF 3) POWERS #24 PS238 #22 PUNISHER PRESENTS BARRACUDA MAX #3 (OF 5) RED MENACE #6 (OF 6) REX MUNDI DH ED #5 RIDE SAVANNAH (ONE SHOT) SADHU #7 (RES) SE7EN LUST #4 (OF 7) SILENT WAR #4 (OF 6) SNAKEWOMAN #10 SPIDER-MAN POSTER BOOK STAR TREK KLINGONS BLOOD TELL #1 KLINGON LANGUAGE VAR ED STAR TREK KLINGONS BLOOD WILL TELL #1 STAR TREK NEXT GENERATION THE SPACE BETWEEN #4 (OF 6) SUPER F$$$$$S #4 SUPERGIRL AND THE LEGION OF SUPER HEROES #29 TAG CURSED #3 (OF 5) TEEN TITANS GO #42 TRANSFORMERS SPOTLIGHT KUP TRUE STORY SWEAR TO GOD IMAGE ED #5 UNCLE SCROOGE #365 UNIQUE #2 (OF 3) USAGI YOJIMBO #102 WALK-IN #5 WALKING DEAD #37 WALT DISNEYS COMICS & STORIES #680 WAR OF THE UNDEAD #3 (OF 3) WETWORKS #8 WISDOM #5 (OF 6) WOLVERINE #53 WONDER WOMAN #8 WORMWOOD GENTLEMAN CORPSE #7 X-MEN FIRST CLASS #8 (OF 8)

Books / Mags / Stuff ANCIENT BOOK OF MYTH AND WAR HC BATMAN BLACK AND WHITE STATUE BY MATT WAGNER CABLE DEADPOOL VOL 6 PAVED WITH GOOD INTENTIONS TP CIVIL WAR FANTASTIC FOUR TP CIVIL WAR X-MEN TP COMICS JOURNAL #282 DRAWING THE LINE VOL 2 GN EC ARCHIVES WEIRD SCIENCE VOL 2 HC GEEK MONTHLY #4 GOD SAVE THE QUEEN HC HAWKGIRL THE MAW TP KING OF KINGS VOL 1 PKT ED LITTLE LULU VOL 15 THE EXPLORERS TP MICROGRAPHICA GN NICK CARDY COMIC STRIPS TP OVERSTREET COMIC BOOK PG VOL 37 NEW AVENGERS SC PAINKILLER JANE VOL 1 REG CVR TP PATH OF THE ASSASSIN VOL 6 TP PREVIEWS VOL XVII #5 RUNAWAYS VOL 7 LIVE FAST DIGEST TP SHENANIGANS GN SPIDER-MAN BLACK CAT EVIL THAT MEN DO TP SPIDER-MAN VISIONARIES ROGER STERN VOL 1 TP SUPERGIRL AND THE LEGION OF SUPER-HEROES VOL 4 THUNDERBOLT JAXON TP TRUTH JUSTIN & AMERICAN WAY TP TRUTH SERUM THE LONELY PARADE TP VADEBONCOEUR COLLECTION OF IMAGES #8 WILL EISNERS SPIRIT ARCHIVES VOL 21 HC WIZARD MAGAZINE DC TOP SECRET PROJECT CVR #188

Free Comic Book Day Stuff AMAZING SPIDER-MAN SWING SHIFT 2007 FCBD ED AMELIA RULES HANGIN OUT 2007 FCBD ED ARCHIE COMICS LITTLE ARCHIE 2007 FCBD ED ARCHIE COMICS SONIC THE HEDGEHOG 2007 FCBD ED ASTOUNDING WOLF-MAN #1 2007 FCBD ED BONGOS FREE FOR ALL 2007 FCBD ED COMICS 101 HOW TO & HISTORY LESSONS FROM PROS 2007 FCBD ED ( COMICS FESTIVAL 2007 FCBD ED FAMILY GUY HACK SLASH FLIP BOOK 2007 FCBD ED FCBD SCI-FI WHO WANTS TO BE SUPERHERO BOOK (BUNDLE OF 50) (N GUMBY 2007 FCBD ED HUNTERS MOON SALVADOR FLIP BOOK FCBD ED IMPACT UNIVERSITY VOL 3 2007 FCBD ED JUSTICE LEAGUE OF AMERICA #0 2007 FCBD ED LAST BLOOD #1 2007 FCBD ED LEGION OF SUPER HEROES IN THE 31ST CENTURY 2007 FCBD ED (NET LIBERTY COMICS #0 2007 FCBD ED #2 LONE RANGER NEW BATTLESTAR GALACTICA FLIP BOOK 2007 FCBD ED LOVE AND CAPES #4 2007 FCBD ED LYNDA BARRY SAMPLER 2007 FCBD ED MARVEL ADVENTURES THREE IN ONE 2007 FCBD ED NEXUS SPECIAL 2007 FCBD ED OWLY & KORGI 2007 FCBD ED STAR WARS CONAN FLIP BOOK FCBD EDITION TOKYOPOP CHOOSE YOUR WEAPON 2007 FCBD ED GN TRAIN WAS BANG ON TIME 2007 FCBD ED TRANSFORMERS THE MOVIE PREQUEL #1 2007 FCBD ED UMBRELLA ACADEMY ZERO KILLER PANTHEON CITY 2007 FCBD ED (NET UNSEEN PEANUTS 2007 FCBD ED #1 VIRGIN COMICS RAMAYAN 3392 AD 2007 FCBD ED WAHOO MORRIS 2007 FCBD ED #1 WALT DISNEYS MICKEY MOUSE 2007 FCBD ED WHITEOUT #1 2007 FCBD ED WIZARD HOW TO DRAW SAMPLER 2007 FCBD ED WOTC BAG O STAR WARS CMG FIGURES 2007 FCBD

What looks good to you?

-B

I try to make it up to Dan Didio: Graeme finishes 4/18's DC books.

I know, I know; it's APE this weekend, so I should be all about the indie comics this time out. But there are so many DC comics for me to write about this week, even though I have no idea why I ended up with quite so many... If it helps, expect me to write something about Nick Bertozzi's The Salon, as well as the new Eddie Campbell and Jeffrey Brown books, in the next couple of weeks. The Bertozzi book alone is very, very good and should be read by many. For now, though, step into the world where Dan Didio rules supreme. THE BRAVE AND THE BOLD #3: With every issue of this series, I'm becoming more and more convinced that Mark Waid is writing this after looking through some Phantom Zone viewer into my brain. Not only is this an outright fun superhero book - a romp, even - but it's something that grows in scope each month. As the plot gets more and more grandiose and out there, this issue also sees some of the more human moments of the series so far (and from Batman, no less, trying to help Spider-Ma - no, wait, I mean, Blue Beetle - be a better superhero). It's an interesting growth for the book, and a welcome one; if part of this series is to act as an introduction to new characters and a selling point for you to check out their books, then you need those character moments in order to properly do that, and the interplay between Batman and Jaime makes me want to check out what the real Beetle book is like each month. It's also welcome because, as over-the-top as the plot is becoming, it's those character moments that make this issue enjoyable and memorable.

That said, Batidus? Worth a Very Good grade all by itself.

THE SPIRIT #5: And talking of ridiculous plots, this issue of Darwyn Cooke's (so-much-more-than-a-) revival of Will Eisner's crimefighter deals with a brand new snack for kids: pork, beans and sugar. And, unless I completely misread the book, the beans are pig testicles. As if that wasn't enough, there's also the hint of bird bestiality mixed in with this tale of intellectual property appropriation, and yet somehow... it all works. More to the point, it works on multiple levels, so that both kids and adults will get different (and equally wonderful) things out've the story, whether it be a straight-forward adventure or a satire on easily-conned, image-conscious consumer culture. As if he hadn't already shown that he was pretty much the master of monthly adventure comics, this issue Cooke gets to add "pitch-perfect American bastardization of 'manga' style" to his quiver of genres, too... Very Good, and like every issue of the series so far, pretty highly recommended.

BIRDS OF PREY #105: As Gail Simone nears the (surprise) end of her run, the book continues to get back into the rhythm that it lost around the same time that it lost Simone's original heart of the series, Black Canary. Maybe it's because of the use of Simone's other superteam (the Secret Six, who are arguably more enjoyable here than the Birds themselves), but there's a welcome swagger to this book that hasn't been here for awhile. What's interesting for me is that it's that swagger that makes the book for me, even though I have to admit that I'm not that involved with (or really that sure that I'm entirely following) the plot; the second book this week that had that effect on me. Maybe I'm an easy sell when it comes to witty repartee? Good, nonetheless, and I'm very much looking forward to Simone taking over Wonder Woman later this year.

JUSTICE LEAGUE OF AMERICA #8: There are all manner of reasons why this should be a carcrash of an issue - It's a DC continuity nerd's dream to the point of ludicrousness, including using versions of current characters that haven't seen print for almost 20 years and continuing Brad Meltzer's fanboy-gone-mad-with-power style of writing the main characters. The art by "rising star" Shane Davis is fairly generic, papercut-face-filled, and in all ways that count, a return to Image Comics from the 1990s. The plot is, yet again, a slow build, and the dialogue is self-conscious and awkward. Yet, for some reason, it's Okay, perhaps entirely due to my inner DC-fanboy being sucked into the idea of a return for the Levitz-era Legion of Super-Heroes that gets offered up fairly strongly here. I'm so pathetic.

PICK OF THE WEEK is probably The Spirit, because Cooke manages to provide something that works really well for brand new readers who have no idea about continuity, no matter what their age may be. That kind of thing takes skill... PICK OF THE WEAK is, very obviously, World War III. Doing that kind of thing takes some kind of skill as well, but it's not a skill that we talk about in polite circles.

What has everyone else been up to this weekend, anyway?

Don't Rhyme No Mo': Graeme doesn't review.

So, APE weekend and even though I was too nervous to talk to anyone at the signing yesterday - I'm only exaggerating slightly, sadly - a fine time was still had by all. If I had to nominate a king and queen of the whole thing, it'd be Bryan Lee O'Malley and Hope Larson, who put up with my shyness and appreciated Kate's food tips never mind their obvious talent and attractiveness (That said, Kate's food tips are generally always worth listening to). They also let me buy a page of Scott Pilgrim art that is on its way to being displayed in the bathroom, if only because I've been told by my lovely wife that every bathroom needs something wonderful to look at. Buying art is actually a running theme for me at APE - Kate and I always end up with art (normally from Nucleus, who rep artists that Kate adores; every year she buys prints from them to frame and hang in the house) instead of books, even though we both wander around and see many things that look pretty great. That said, this year it's worth heading to the convention (if you haven't already) for the guests alone; even if Bryan and Hope aren't your thing, there's also Gene Yang, Derek Kirk Kim, Kevin Huizenga (someone else I was entirely too scared to talk to on Friday. Me = Dick, in case you didn't know), Debbie Huey, and - if he's there tomorrow at the AiT booth like he was today - Matt Silady, who did The Homeless Channel that I raved about here. Go and ask him to tell you about his book. And then you should all buy lots of art, just like Kate and m'self.

Reviews tomorrow, honestly.

Still catching up

I actually thought about changing the name of the blog to Graeme McMillan's Savage Critic for the week, since he's been carrying all of our asses this week... Anyway, about 60% of my ComicsPRO emails and calls have been made, I completed ONOMATOPOEIA this morning (gonna be amusing to photocopy it "while" we have a major signing going on), and the new TILTING AT WINDMILLS is up at Newsarama, wherein I talking about the ComicsPRO meeting.

Reviewish stuff...soon. BUt probably not before Sunday, honestly.

Also, one thing I didn't get into my column (it didn't seem to fit the tone), but I pasted it off into Notepad so I wouldn't lose it:

Let’s end this with the third weirdest thing about the trip: The Orleans hotel has a check cashing service these days. If you haven’t been to one of these old-school Vegas hotels, you need to understand that the hotel lobby is the casino. In order to get anywhere in the hotel, you have to pass through the casino. So, five to ten times a day I’m walking through the casino, and past the check cashing line, and during normal 9-5 business hours that line is the longest line in the whole joint – usually 40+ people deep.

Like any check cashing service, it’s pretty clear that the people using it are generally poor – that’s why most of them are using such a service in the first place. (and let me say that using these services is a really bad financial deal, and should really be avoided in anything except the most desperate of times) It’s really pretty evil to set up a checking cashing deal in the middle of a casino – way to stack the house against the poor twice over – but what astounded me even more was that the casino had waitresses serving booze to the people in line.

Only in Vegas, I guess.

-B

Reminder....

I keep trying to avoid that situation (which I know is nonetheless inevitable) where I'll post pictures of the event next week and someone will say, "Hey, I didn't know that was happening! Why didn't you post a reminder or something? I even looked at your blog that Friday because I was in town for APE and I didn't see anything!"

If you're in town around 5, stop by. It's going to be a tremendous gathering of talent under one roof, and a great way to kick off your APE weekend.

Filling our bathtubs with t-shirts and 8 by 10s: Graeme is tired, plus 4/18.

Is it just me, or has this week been really, exceptionally, surreally long? Perhaps it's because last weekend was so pleasant that I wasn't prepared for the shock of the work week, perhaps it because I've been looking forward to APE and tonight's signing all week, perhaps it's because someone has been messing with all of our clocks and this week really has been 12 days long, but good lord, this has been a ridiculous week. Any time you wake up on a Wednesday and wish that it's a Friday, you know that you're going to be a zombie by the time that the real Friday comes around. And I'm not talking cute Minimates version of Marvel Zombies zombie, either.

(Actually, that reminds me - When the next Previews comes out, please leaf through to find the new McFarlane "Lost" toys. There are four characters in this new release: Sawyer, fully-clothed in action pose. Jin, fully-clothed in action pose. Mr. Eko, fully-clothed in action pose. And Sun, outstretched in a bikini. I'd complain about sexism, but that seems kind of pointless when you remember that McFarlane Toys were also responsible for turning the Wizard of Oz into a BDSM fantasy where Dorothy was tied up, blindfolded and slave to munchkins (Arguably not safe for work, depending on your work's stance on topless bondage action figures). Nonetheless, I'd love to know what the actress who plays Sun on the show thinks about her figure.)

NIGHTWING ANNUAL #2: Say what you like about Dick Grayson, but he's not the smoothest lover in the fictional world - Midway through this relationship retrospective, we see that Dick goes to Barbara Gordon as soon as he finds out that she's been shot and crippled by the Joker, has sex with her, and then tells her that he's getting married to someone else. Exactly how that goes towards this annual's unstated-but-clear goal of appeasing the fans who were appalled that One Year Later not only split this couple up but also didn't refer back to their cliffhanger engagement by proving that the two characters are, like, rilly rilly in love with each other and totally meant to be 2gether 4evah, I'm not entirely sure, but I'm also fairly confident that the sex scene from that sequence is more than enough misdirection for them to keep them away from the clear suggestion that Dick Grayson is, well, a dick.

That's what stayed with me most from this special. Not that Dick is a dick, but that it's one of the clearest pieces of fan service that DC has offered in awhile, and considering that you could argue that a lot of DC's post-Infinite Crisis moves have been fan service of one type or another (even if those fans have been the creators, in many cases), that's saying something. It's an interesting thing to watch - resetting the romance between Dick Grayson and Barbara Gordon involves a couple of near retcons that actually make a lot more sense than what we've previously been seen (Putting at least a month between the big last battle and Batman leaving Gotham to go around the world to find himself makes a lot of plot sense, but arguably messes up 52's timeline, for example, and for the ending to make sense it helps to ignore Bruce Jones making Dick Casanova during his run - but then, ignoring Bruce Jones' writing generally makes sense anyway) - if uncomfortable at times because, really, who wanted to see Robin hide his hard-on from Batman under his cape?

(As soon as I wrote that, I realized that there is probably a large contingent of Robin fandom who wants to see that very thing. There we go with that fanservice thing again...)

Thing is, it's not that bad a book; Marc Andreyko's script manages to negotiate a minefield of continuity and editorial decisions and still come out not only as readable, but almost convincing; they're a dysfunctional couple, sure, but they're a believable dysfunctional couple no matter how many bad decisions that they're forced (by the creators) to make. 52's most consistent art team of Joe Bennett and Jack Jadson do what they did on the weekly book, and provide solid if dull support with the occasional striking image - they do a very good Batman on the opening spread - and the overall impression of the book is something that's weirdly Good despite the entirely cynical circumstances surrounding its creation.

And, yes, I'm a sap for wanting to see these two crazy kids make it work. But that's hardly a surprise.

Jeff Apologizes for Not Posting Lately and [Spoiler!] Reviews Some Stuff.

This week has flown by scarily fast. Almost a week since I last posted? The signing's tomorrow? APE is this weekend? I'm like the low-budget version of Rip Van Winkle (and what an underwhelming twist on that classic story I would be: "Last thing I remember is falling asleep after bowling with dwarfs. And when I wake up...it's one week later!") (By the way? If you go to the wikipedia entry for Rip Van Winkle--perhaps because you're unsure if it was dwarfs or ghosts or giants or what Mr. Van Winkle was bowling with--you'll see there's a spoiler warning before the plot sypnosis. Ditto for "Goldilocks and the Three Bears." I'm agog at the concept, and will now spend the next thirty-six hours imagining what kind of angry email someone who's had the story of Goldilocks and The Three Bears spoiled for them might write.)

Since chances are good it might be another few days before I turn up to post again, lemme cover some stuff I've been reading recently.

DEATH NOTE VOL. 11: Looks to be heading for a big wrap-up, but, to be honest, I'm so taken by Takeshi Obata's art, I could probably read another ten volumes of this. There's a sequence where Near breaks out a suitcase full of Kubrick figures which he labels and shoots with a popgun that had me appallingly rapt--appalling because I was just as engrossed by a similar scene several volumes ago where Near uses an evilly-grinning finger puppet just a volume or two ago. (Fans of that finger puppet will be heartened to know he makes a reappearance here in Chapter 96.) Also, even though it's been used 9 million times, close-ups of Near's owl-like eyes followed by close-ups of Light's evil cat-eyes also fill me with a shocking amount of joy, no matter how often I see them.

There's other strange delights here, stuff that works more or less because it shouldn't work. For example, by this volume, the internal monologues of the characters trying to second-guess each other have grown so numerous they literally obscure the characters' faces. It seems like the sort of imbalance in the verbal-visual blend that would have R.C. Harvey's panties (girly-cartoon festooned panties, it should be noted) in a bunch, but it works here as a symbol of how the characters' obsessions are obliterating any other trace of them. Similarly, the scenes where two characters who are being bugged are communicating by writing on a piece of paper while carrying on a conversation for the benefit of their listeners is the sort of thing I can't imagine being done half as well in any other medium. Not only is it not boring, it's genuinely riveting and a testament to the velocity of Death Note's story: you can't help but be sucked in.

Anyway, a lot depends on how it wraps up, I would think, but if you're a big fan of the series, I'm thinking you'll also find this Very Good stuff.

KING CITY VOL. 1: I dug Graeme's review of this but even though he gave this book a Very Good rating, I wasn't particularly compelled to pick it up. Nonetheless,he lent it to me when I lent him Empowered so I figured it'd be worth a read, and holy shit, did I love it. King City is such a balls-out, energetic comic book achievement that I started making a list of all the people I wanted to get copies to even before I finished it. Only the fact that this is Graeme's copy prevented me from trying to loan it out a half-dozen times this week.

The near-futuristic setting and the wandering approach to a genre story makes it feel a lot like early Paul Pope to me, but Graham is goofier, less eager to impress, than early Pope and a lot of the scenes have a winningly comedic tone to them (I think one of my favorites is when the protagonist Joe tries to draw the mystery woman who has led him and his buddy into events way behond their understanding, and all he can really recall is her butt). Nearly all of the panels of the book burst with strange new products, bad puns, graffitti, cartoony vigor. In some ways, it may be the most impressive non-debut (Graham's got four other books under his belt) since Scott Pilgrim, and I highly recommend you start beating the bushes off your favorite Tokyopop dealer to find a copy. Very Good stuff that I really, really enjoyed. It charmed the hell out of me.

Okay, the wife is making hand gestures indicating we have to go to dinner now, so more later, hopefully tomorrow before I head to the store.

Congratulations, but you can congratulate them yourself if you're around tomorrow...

Hey, look, the Eisner Nominations are out. And two names in particular stand out for me: Best Graphic Album—New American Born Chinese, by Gene Luen Yang (First Second)

Special Recognition Hope Larson, Gray Horses (Oni)

Wow, wouldn't it be great if the two of them appeared together at a signing along with Kevin Huizenga and Bryan Lee O'Malley? Like, tomorrow, between 5 and 7?

I just wanted to get that in before Jeff did.

Political, science: Graeme continues 4/8.

Is it so wrong of me that I'm cursing the fact that I have to, you know, work today, when I'd much rather be sitting in front of C-SPAN watching the Alberto Gonzales testimony? In between all the things I'm supposed to be doing this morning, I'm already checking all my usual news and politics sites to see what he's said and whether he's been nailed yet. Even if there's nothing wrong with (a) wanting to skip work to (b) stay up to date with current affairs, I'm sure that there is definitely something wrong with (c) enjoying Gonzales squirm when presented with his own words and asked to explain them without coming right out and saying "Well, obviously, I was lying." But on less political matters:

There's this moment in MIGHTY AVENGERS #2 where it looks like Brian Michael Bendis is doing a very funny metatextual joke at the expense of Frank Cho. Janet Van Dyne, the "winsome" Wasp - and why does no-one else call her that anymore? When did describing people as "winsome" go out of style? - looks at the brand new all-woman mostly-naked Ultron and says "Does anyone think that looks exactly like me with worse hair?" I read that and thought, hey, Bendis is making a funny about the fact that Frank Cho can only draw one woman and just changes their hairstyle. Good for him! And then it turns out to be a plot point by the end of the issue, and I was depressed.

That said, this was a pretty Good issue. A low good, sure, but stronger than the last issue... Bendis is already visibly processing what worked and didn't from his first issue, the most obvious indicator being his dramatic dialing back the use of thought balloons (Not getting rid of them altogether, sadly - Don't get me wrong, I like thought balloons just fine; I just don't like Bendis's take on the idea, which is too cute by half). He's still overusing flashbacks, however. If he was writing this review, this would the point where I'd say something about his use of flashbacks -

EIGHT HOURS AGO: Hmm, this episode of Lost is interesting. Brian K. Vaughan's first one, huh? Maybe I should finish off that Mighty Avengers review. Frank Cho's art is technically very good, but oddly lifeless, though - The coloring really gives it some weight and saves it -

- and then we'd come back to me writing this review right now.

(Also, if he was writing this review, it would probably be more positive, and I would say more things in parenthetical asides. Like this one. And then, caught in the moment of demonstrating, I'd probably say something like "Oy".)

Both Mighty and New Avengers have become overly reliant on the cross-time-cutting (New much more than Mighty; wasn't almost all of the most recent issue a flashback?), and I don't really see why, or what it adds to the readers' enjoyment of the story. You could argue the opposite, in fact; in New, it actively undercuts the tension for the reader - you already know that the characters have survived their encounter with the other Avengers because you've seen them fine and healthy a day later already. It pretty much reads to me as if he's trying to keep himself interested more through structural trickery than through the stories he's writing, somewhat offputtingly, but I'm holding out hope that we'll either see him pulling back on the gimmick and/or explaining his use of it before too long.

Nevertheless, this was a fun enough book. Like this week's Justice League, you can see Bendis trying to write the stories that he read as a kid, but his own style tweaks that formula whether intentionally or otherwise. Not that that stops it being interesting or enjoyable; if anything, it may make it more enjoyable than your average monster/robot/superhero slugfest. It's not a book to change your life or even your reading habits, but I think that Bendis has passed the point of wanting to make those anymore; books like this make me think that he's instead at the point of comfortably trying to give them what they want, as long as he can make it work for him, as well. And, if nothing else, it is entirely devoid of someone telling you how Civil War changed everything, meaning that it's automatically better than almost every other mainstream Marvel title right now.

War, huh, etc: Graeme wishes that he wasn't a survivor of World War III.

I'm sure that everyone else in the world remembers the sense of unease when DC talked about WORLD WAR III for the first time. There was, if you will, a disturbance in the DC Nerd Force when this four-part-series-all-released-in-one-day was announced - a deep intake of breath at the idea that maybe 52 wasn't going to get it all done after all, and that they needed four extra comics to tell the story and explain everything that had happened in the missing year. In an effort to try and calm the fanbase, Dan Didio explained that you didn't have to read any of World War III's four issues (and, really, where's the thematic consistency in that? Three issues for World War Three, people. Come on, that's easy) in order to understand what happened in 52 that week. Having now read all of World War III and 52 Week 50, I have to agree. In fact, I'll go further: 52 Week 50 is much, much better if you don't read World War III. In fact, I'll go further than that: Don't waste your time or your money on World War III.

Now, I'm not the most market savvy of internet comic geeks, but I can't help but feel that both Countdown and especially World War III show just how badly that DC have misunderstood the success of 52 - I don't really think that the book sold just because it was weekly, or because it was continuity porn (which seem to be the main selling points of Countdown and WWIII, respectively), but because of the creators involved in 52 (namely, DC's four biggest writers) and the novelty of what was originally sold to us as a self-contained 52-part "novel" that would explore the DC Universe in more detail than we've seen before, setting up the new rules of the world post-massive status quo-changing crossover event. That's pretty much still the case for me, and probably most of the audience who has stuck with 52 this far; to be honest, with two weeks of 52 left, my main concern has nothing to do with finding out how Firestorm got to be merged with Firehawk or why Manhunter became a defense attorney, but instead that none of the core storylines are going to reach any kind of adequate conclusion. Which isn't to say that I don't doubt that there is a section of DC's core fanbase out there wondering about all of those dangling plots from the One Year Later jump, just that it wasn't 52's main draw. Maybe I'm old-fashioned, but I kind of wanted the unanswered questions from each leap forward to be handled in the series that they were initially raised, anyway; that way, the creators who came up with the questions could answer them, and the readers wouldn't find themselves forced to buy another series for a chunk of the story. But that's why I don't run multi-million dollar franchise-enabling publishing companies.

Here's the thing - 52 #50? It's Okay, at best; it stays with the series' inability so far to close any of their plotlines, as well as their tendency to devote entire issues to a plot as they attempt to pull it to a close (See the Steel/Luthor battle in week 40 or the Ralph Dibny finish in week 42, for proof of both; if you look at week 50 in the context of the series and ignore the "event" that was added on after the fact, this isn't any more of an important issue or storyline than those, although it does have a much more satisfying conclusion than either - The final solution for Black Adam has an oddly optimistic and inventive bent that suggests Morrison or Waid's input). But part of the reason that it works as well as it does is because it holds together as a complete chapter in and of itself, if that makes sense - There's an internal consistency that keeps the whole thing moving along. As soon as you start introducing "important things you may not have known" about scenes from the issue, as WWIII does, then you start to undermine the core book. Especially when the new scenes that you're adding are, to put it mildly, horrible.

World War III as a series takes the art aesthetic of 52 as a series - which is, essentially, "It's not great but it's on time; it'll get the job done" - and applies it to the writing as well. It's a series that, despite two writers (whose writing is entirely interchangable; I couldn't tell you which writer worked on which book without looking at the credits) and four artists, struggles to even stay readable most of the time. Everything about the series misfires: The staging is pedestrian and haphazard (There isn't any real narrative flow to each issue, never mind the series itself; it reads entirely disjointedly, as if scenes have been placed randomly into pages), the dialogue is - at best - wooden and the narration (by the Martian Manhunter, who gets to bookend the action of the series thanks to retconning 52 #45 and being "behind the scenes" in 52 #50) even worse:

"Theft. Lies. Deceit. All in the name of justice. The two sides of human nature, once more represented. Smaller acts of malice performed in the service of the greater good. It is not the Martian way. It is not my way. Or... is it?"

The story in the four WWIII issues undermining 52 in terms of plot makes a certain sense, if you think about it - The addition of a spin-off book that (despite the intentions of 52's creators) essentially being sold as "If you want more of 52, you can get it here!" undermines the initial complete-in-and-of-itself nature of 52's time capsule concept as a series and also undermines whatever goodwill and consistency that the series has built up for more or less the last year by adding an additional 4 books of unknown quantity (due to the unknown - ie, no involvement from Grant Morrison, Greg Rucka, Geoff Johns or Mark Waid - creative team) to the fan's shopping list at essentially the last minute.

The worst sin of the series, however, has nothing to do with the workmanlike execution and everything to do with the core idea behind the series itself, because we don't get any of the major One Year Later changes actually explained to us. The entire point of the series - something that Dan Didio even repeats in his DC Nation column in the back of each issue this week - and it completely and utterly fails at it. Sure, we get to see some of the changes happen, but they don't get explained. Martian Manhunter has a new look because he mindmelded with Black Adam and then blacked out! Okay, but why? There's Jason Todd dressed up as Nightwing! Yeah, but why? Supergirl ended up in the Legion of Super-Heroes' future then comes back and gets split in two... but how? And what does that actually mean, anyway? Aquaman turns into a sea monster after raising Sub Diego... but why? And so on, and so on. That the changes happened isn't news - We've known about them for a year now - so just showing us them doesn't do any good. This was supposed to be the book that explained everything that we've seen, but it couldn't even do that right.

To add insult to injury, the series finishes with a cutaway to the Monitors, those harbingers of crossovers yet-to-come:

"Some have lived. Some have died. Others have... changed."

"They must evolve or they will not be prepared. Their darkest hour has not yet arrived."

So, yeah. Your $10 on getting "the full story" of what happened to the DC Universe during 52 week 50 ends with a badly-written advertisement to keep buying more DC books. It's kind of fitting, I guess, because if you made your future purchasing decisions based purely upon World War III, it's very possible that you'd never buy another DC comic ever again.

(All of the above said, the worst part of the series is arguably the most laughable - Don't buy the book, but look at the first page of #4: It's a fifteen panel grid of close-ups of the various superheroes while they wait for the final battle, and you see the icons of Green Lantern or Wildcat grimacing, or Hawkgirl holding a mace and... What's that in panel 6? Oh, that's right - It's a close-up on Power Girl's breasts, with her top torn open to reveal more of her blood-spattered cleavage.

Whoever made the decision to let that stay in the book? Classy. Really, really classy.)

Without a doubt, an incredible misfire from DC. Really, really Awful.

Gasping towards the finish line: Graeme finishes 4/11 and just in time, too.

I'm sure that you've heard of the concept of saving the best till last, right? Well, this isn't like that at all. This is more "Saving the completely bland until last," for the most part, as I present the books I read over the last seven days that I had no strong feelings for one way or another in one big dollop just to get it over with. LONERS #1 (OF 6): I'm undecided on this Runaways spin-off. On the one hand, it's definitely competently done; CB Cebulski's script has some nice moments and Karl Moline's art is solid enough... But on the other hand, there's nothing new in here. It reads like the characters' appearance in Runaways mixed with the middle storyline from Young Avengers, and as good as that sounds in theory, it's been done before, you know? It's Okay, but I kind of wanted to be wowed, or at least surprised, more.

MARVEL ILLUSTRATED THE JUNGLE BOOK: There's something weirdly depressing about this book. It's not really the stories themselves, which are fine enough but feature a mismatched art team where P. Craig Russell's delicate inkwork overwhelms the usual grumpy power of Gil Kane's pencils (although these stories do come from the late 70s, early 80s, when Kane had a tendency to push work through that wasn't up to his standards, if y'ask me - There are places here where the sum is equal to its parts, but not too many), and scripting that's as much expositionary Cliff Notes versions of the stories as I (perhaps mistakenly; it's been a long time, and I wasn't a fan to begin with) remember them. But the "backmatter," as it's now called - Ralph Macchio's bombastic advertisement for the later books in this line, and the previews for said books, with their tone of "Sure, they may be classic stories... But done by new artists who RAWK like only Marvel can!" - seemed kind of out of place with what had come before, as if you were having a nice leisurely conversation with a well-meaning older relative telling you stories you've already heard ten times before and then he's pushed off his chair by your unsettling brother-in-law who wants to tell you about this great new band he's just found out about called Limp Bizkit. Eh, and better enjoyed if you stop reading as soon as the last story finishes.

NEW AVENGERS #29: Wait, so this issue reveals that Brother Voodoo is involved with the whole New/Mighty Avengers showdown, and apparently New Avengers #31 will have the most shocking last page of any Marvel comic this year, and Marvel is milking their Marvel Zombies franchise as much as possible... Oh my God we're going to have Zombie Captain America as reanimated by the ancient terrifying power of Voodoo within three months. Holy crap. This issue was pretty much filler; nothing about the main plot was moved forward, and instead we had some posturing and the occasional good line. Pretty much the definition of Eh, which is a shame after the last couple of strong issues.

NEWUNIVERSAL #5: So, I was reading on The Engine the other day that Warren Ellis is avoiding "Heroes" because he knew, upon seeing the first episode, that it would be following a similar route. It's a shame, in a way. I mean, he's right, but Heroes does one thing very right that this series get very wrong - the pacing. We're five issues into this series, and instead of offering any kind of resolution to the origin stories of the characters - or, really, any kind of growth for the characters we've met so far - we get an introduction to another new character. So, it's not Heroes: The Comic Book. It's the comic book version of Lost, but without the spooky music. A pretty low Eh.

NOVA #1: I know that I should like this. Nova is pretty much "What if Spider-Man was Green Lantern?," so I'm sure that I should dig this even if the Green Lantern he's modelled after is now Kyle Rayner instead of Hal Jordan. But there was nothing worth reading here - No originality, no humor, no spin on what we've seen before. There's still a mix of concepts here, but now it's "It's Nova -- but just as grim as Civil War!" and, to be honest, if you're going to have a "He's a cop in space" story, even a "He's the last cop in space" story, then I want it to be fun, Goddammit. Eh.

PUNISHER WAR JOURNAL #6: So, we get Punisher putting on the Captain America mask as teased, but it has nothing to do with him actually claiming the Captain America identity... Instead, it's all to do with him trying to stop others from ruining the legacy. That swerve is the nicest part of this issue; as good as Fraction's take on the character is - and it's much better than I'd expected, as I continually tell you - this issue is just a bit thin for my taste. That said, I know that there's going to be more explanation and chances for more than just Ariel Olivetti cutting loose in the next issue... You can tell that this is definitely Act 1 in a three-act-structure. Okay.

WONDER WOMAN #7: Welcome to the latest episode of "Where was the editor?", our continuing series where I present comics that you read and wonder exactly where that strong guiding hand was that could've prevented what you just read. It's not that this book was bad, mind you - It was Okay although, considering the reaction of many people on this internet, I may be the only person who thinks that - just very, very muddled. There's a stronger story here, under the confusing scenes and gimmicks of Circe jumping in and out of mirrors or a trannysupervillain bar (Not as exciting as it sounds), and it's frustrating to read this version of the story instead of the one where you're sure it could've been, you know, actually good. I don't think that it's that Jodi Picoult is new to comics that's to blame, as much as it is that she's dealing with too much at one time to make sense of any of it - I would've preferred this to have been its own thing, as opposed to the obvious "set up the new status quo post-Heinberg and also that whole Amazons Attack! mini-series and tie in with Countdown while you're at it" clusterfuck that it's turning into; Maybe she should've been given All-Star Wonder Woman instead of the cursed main-continuity version? In any case, now that Gail Simone has been announced as the new writer come the end of the summer, I have to join the growing number of people who're ready for this title to be relaunched again just to get rid of the taint of this screwy latest run of the book.

Now that I've finished the week, PICK OF THE WEEK is All-Star Superman #7, which shares TRADE OF THE WEEK (as All-Star Superman Volume 1 HC) with The Professor's Daughter, which came out last Wednesday after all. PICK OF THE WEAK, meanwhile, is probably Iron Man, and that's just because I'm not on the same bus as everyone else at Marvel, it seems... Coming up this week: APE! Signings! Onomatoepia! Which may mean less reviews than normal, so forewarned is forearmed, or something...

Arriving 4/18

Back from Vegas, but drastically underestimated how much New and Important work I'd come back with, so I'm still on Radio Silence for a little while (probably, realistically, until the weekend). This was not helped by Bennett being called into Jury Duty today (WHY did it have to be TODAY, of all days... if they'd have waited until Wednesday.....)

Anyway, here's what's a'comin':

52 WEEK #50 A G SUPER EROTIC ANTHOLOGY #56 (A) ANITA BLAKE VH GUILTY PLEASURES #6 (OF 12) AQUAMAN SWORD OF ATLANTIS #51 ARMY @ LOVE #2 AVENGERS EARTHS MIGHTIEST HEROES II #8 (OF 8) BATTLESTAR GALACTICA #8 BETTY #164 BIRDS OF PREY #105 BIZARRE NEW WORLD #1 (OF 3) BRAVE AND THE BOLD #3 CABLE DEADPOOL #39 CONAN #39 DMZ #18 DRAIN #3 EX MACHINA #27 FALLEN ANGEL IDW #15 FLASH THE FASTEST MAN ALIVE #11 GHOST IN THE SHELL 1.5 HUMAN ERROR PROCESSOR #7 (OF 8) GIRLS #24 HELLBLAZER #231 HERO BY NIGHT #2 (OF 4) INVINCIBLE #40 JUGHEAD AND FRIENDS DIGEST #19 JUSTICE LEAGUE OF AMERICA #8 LEGION OF SUPER HEROES IN THE 31ST CENTURY #1 LOVE & ROCKETS VOL 2 #19 MANHUNTER #30 MARVEL ADVENTURES AVENGERS #12 MARVEL SPOTLIGHT SPIDER-MAN MIGHTY AVENGERS #2 CWI MOON KNIGHT #9 CW NEGATIVE BURN #10 NIGHTWING ANNUAL #2 ORSON SCOTT CARDS WYRMS #3 (OF 6) PALS N GALS DOUBLE DIGEST #111 RAMAYAN 3392 AD #8 RED SONJA #21 ROADKILL ZOO #3 (OF 6) ROBIN #161 RUNAWAY COMICS #3 SCOOBY DOO #119 SENSATIONAL SPIDER-MAN #37 SHADOWPACT #12 SIMPSONS COMICS #129 SONIC THE HEDGEHOG #174 SPIRIT #5 SQUADRON SUPREME HYPERION VS NIGHTHAWK #4 (OF 4) SUPERMAN BATMAN #34 TESTAMENT #17 ULTIMATE SPIDER-MAN #108 ULTIMATE X-MEN #81 VAMPIRELLA QUARTERLY SPR 07 JUSKO REG WORLD WAR III PART FOUR UNITED WE STAND WORLD WAR III PART ONE A CALL TO ARMS WORLD WAR III PART THREE HELL IS FOR HEROES WORLD WAR III PART TWO THE VALIANT X-23 TARGET X #5 OF(6) X-FACTOR #18 X-MEN #198

Book / Mag / Stuff ALEX TOTH EDGE OF GENIUS VOL 1 TP BATMAN AND THE MAD MONK TP BLUE EYES VOL 3 TP (A) CIVIL WAR AMAZING SPIDER-MAN TP CIVIL WAR FRONT LINE BOOK 1 TP CIVIL WAR THUNDERBOLTS TP COMICS BUYERS GUIDE JULY 2007 #1630 COMICS INTERNATIONAL #201 (RES) DAREDEVIL DEVIL INSIDE & OUT VOL 2 TP DRIFTING CLASSROOM VOL 5 TP FIRST APPEARANCE SER 4 INNER CASE ASST FORGOTTEN REALMS DARK ELF TRILOGY VOL 4 CRYSTAL SHARD TP GOLGO 13 VOL 8 GN H EOFIGENDLIC LODRUNG GN HELLBLAZER REASONS TO BE CHEERFUL TP LAST SANE COWBOY & OTHER STORIES GN MISS DD VOL 4 GN (A) NIGHTMARES & FAIRYTALES VOL 3 1140 RUE ROYALE PET HUMILIATION DIARY GN (A) PREY ORIGIN OF THE SPECIES TP PUNISHER MAX VOL 7 MAN OF STONE TP ROCKETO VOL 2 TP JOURNEY TO THE HIDDEN SEA ROUGH STUFF #4 SHOWCASE PRESENTS SUPERMAN VOL 3 TP TOMARTS ACTION FIGURE DIGEST #153 WONDER WOMAN THE GREATEST STORIES EVER TOLD TP YOUNG AVENGERS VOL 2 FAMILY MATTERS TP

What, as they say, looks good to YOU?

-B

In which I fall in love with a brushstroke: Graeme in a tree with Kubert, Hawkman.

So last night, I had a dream that proved that my subconscious was frantically grabbing what little pieces of pop culture that I'd exposed myself to over the last couple of days - My life was being narrated by This American Life's Ira Glass, and illustrated by Joe Kubert. Needless to say, everything was much funnier than it is in real life, and looked beautiful. Kubert's art was pretty much the main reason that I picked up SHOWCASE PRESENTS HAWKMAN VOLUME 1, the phone-book-sized collection of the first Silver Age stories about the man with the feather fetish. I've never been a major fan of the character or the concept, but the idea of getting lots of prime Kubert art in black and white for relatively cheap was a very easy way to get me to part with my money. Having read the book, it's easily the best thing about it - As much as many artists of the Silver Age had an ability and strength (to say nothing of work ethic) that many of today's Young Guns and Ten Terrific could learn from, Kubert is one of only a handful who matches that to a style that's breathtaking even today. Even though he only handles a few stories at the start of the book (The series obviously had a rocky start, running three issues in Brave and Bold before disappearing for awhile, before another three issue run, then another disappearance, then a run in Mystery In Space before finally graduating to its own title; Kubert was only on the strip for the Brave and Bold issues), it's Kubert who you'll remember when you're finished with the 500+ pages: His lush brushwork, his mastery of the balance of black and white on the page, the care and attention he takes on things that other artists would've just hacked out without a second thought... It's impossible to read this book and not be convinced each and every page that he worked on, that he's one of the greatest comic book artists of all time. Completely amazing, beautiful work that makes the normally-competent Murphy Anderson (who handles the remainder of the series in this book) look stiff and lifeless by comparison.

What you may be missing in the afterglow of that love, though, is the lowkey charm of Gardner Fox's stories. Yeah, it's definitely one of the lesser of DC's Silver Age books but, just like his Justice League stories, you can't help but be swept along with the old-fashioned "adventure with a lesson built in" nature of the whole thing - Look at Hawkman use that old-fashioned weapon from his museum and learn the name of said weapon and as much of its history as can fit in a caption! The science-fiction aspects are enjoyably campy in retrospect (We don't celebrate "Independence Day," but "Impossible Day"! We Thanagarians don't use wedding rings - We use wedding earrings! But only for women! We have our own words for "hour" and "week," but like using "day," if that's okay with you!), which kind of sums up a lot of what makes the stories as enjoyable as they are - it's not that they're good, per se, but they're funny and charming for maybe the wrong reasons. It doesn't stop them being entirely readable, of course, even when Murphy Anderson is drawing. For the first third of the book, though, you'll barely notice that there are any words; your eyes will be fixed on the shot of the talking bird in the beautiful pen-and-ink tree. Or the staircase rendered in loose, thin brushstrokes. Or the profile shot of Carter with his helmet, where the shadow falls perfectly to draw your eye across the panel. Or... Well, you get what I'm saying. It's enjoyably Okay overall, but worth it for the opening stories alone.

Well, Why Not: Jeff Liveblogs the First Six Hours of Friday...

...even after I said I wouldn't. What follows are the notes I tapped out while working, unedited except for spelling and clarification, of my first six hours at the shop. Might be interesting for some of you who wonder what our store's like and who shops there, even though this is 100% pure anecdote and things may well be utterly different the other six days of the week. Wherever possible, I've tried to keep everyone anonymous so that subscribers, regular shoppers and lonely guys buying porn can retain their privacy.  

***

11:24 a.m.: Okay. Store is open, music is playing (Elastica's first album, which is directly attributable to reading Mr. Gillen's endpapers in Phonogram), two people are in the store currently. Arune called hoping to get in touch with Graeme, and UPS just dropped off Diamond's blackline, which means work on a new newsletter has to start soon.

First purchase of the day? Somebody buying a copy of Small Favors, Ho Che Anderson's Eros comic (Temple Duncan or something like that), and the third issue of Conan and the Midnight God. It'd be easier to make fun of such a purchase if I didn't actually like Small Favors and up until recently read Conan.

Second purchase of the day? A copy of Civil War: The Initiative and Wolverine, from a guy who was looking for the latest issue of the Transformers movie comic. Nice guy, too. Seemed very happy that we had still had the first printing of The Initiative.

I've read the latest 52, and All-Star Superman #7. I think I've missed the last page importance of All-Star Superman, though. So the Sbarro pizza chain is a weird genetic offshoot of Bizarro? I guess it kinda makes sense....

11:35: Wow. That Elastica album is SHORT. There's a guy looking through the DC Showcase volumes, with the tag from his shirt sticking out about three inches. It looks like a black polyester transmitter jutting out of his neck. Two guys walking around the store, talking to each other in, I dunno, Italian or Portuguese, have just been joined by three other friends. As one, the group of five loudly descend on the porn rack. It's going to be one of those days, it looks like.

11:40 a.m. : Caller asking when X-23 is coming out. After that, there's a pause and then he asks what every retailer loves to hear: "Hey, what about the next issue of that Ultimate Hulk Vs. Wolverine? Is that ever gonna come out?"

11:45 a.m.: The five guys leave with compliments for the store in their halting English. Turns out they're Brazilian musicians traveling and one guy really wants this Giger hardcover that we have, but is worried it weighs too much to travel with. Says they'll try to come back.

11:50 a.m.: Two more Brazilian guys, unrelated to the first group, remarkably enough. One wants to see the Walking Dead books. The other is looking for Dabel Brothers books because his friend did the art on one of the issues.

Another call (busy phone morning) from a guy wanting old Milestone issues. We've got four issues of Static Shock in our starter sets for cheap, recommend he come down and browse our other sets--the Milestone stuff seems to appear and disappear from that section reuglarly.

11:58 a.m.: The first Brazilian (the Walking Dead guy) asks about Bone, and wow do I wish I had one of those big Bone-In-One volumes to show him. Instead, Point him to the color version adn also show him the first two issues of the Shazam mini, which amuses and delights him.

12:05 p.m.: The two Brazilians leave, one buying that Dabel Brothers book and the 300: The Art Of book which he tells me is actually really hard to find. His friend gets that second volume of Walking Dead and also Tiny Tyrant. The first guy asks me when the next volume of The League of Extraordinary Gentlemen is due out. I swear to god, one day the riddle of the sphinx is going to be posed to me, and it's going to be "Hey, did the second issue of Daredevil: Target ever come out?"

12:10: One dude with a khaki cap browsed for a few minutes, left, now a bespectacled guy with an Ideo messenger bag is browsing the Vertigo comics section. At this rate, between the whole customers and describing-the-customers thing, I'll never get a chance to read any comics, will I?

12: 15: Did I mention I'm listening to The Good, The Bad & The Queen now?

12:18: Perusing the blackline and, yeah, I'm pretty sure I'm not allowed to post anything I'm seeing. I will say that I yelped aloud at a certain Omnibus announcement.

12:24 p. m.: Joe Ideo is gone, having purchased several back issues of NewUniversal, the latest Fell, Buffy #2, All-Star Superman #7, and the latest issue of Optic Nerve. I hesitate to call him a prototypical CE customer but he skews pretty close, dontcha think?

12:38 p.m.: First sub of the day just left with a handful of great stuff. Second sub showed up 45 seconds after and is still browsing the store. Mentions that the Wilco song playing sounds like it's going to break into the Batman theme at any second. Funny and also, if I listen carefully, kinda true.

12:43 p.m.: There's also a manga announcement in the new Blackline I'm pretty damn happy about. And a cool webcomic collection from Dark Horse, too?

12:45 p.m.: Danny (the second subber) is gone so store's empty now. Wonder how long that'll last.

12:46 p.m.: Answer: approximately 90 seconds.

12:48 p.m. : And now the store's empty again. So it goes.

1:18 p.m.: First woman to set foot in the store today. Shows up with her boyfriend. They are both dressed entirely in black. Right behind her a trio of kids, all boys between the ages of what looks like 13 and 16, the oldest of which buys a Batman shirt.

1:23 p.m .: Wilco's done. Just put on Compounds + Elements: An Introduction to All Saints Records. I've read (in reverse order) Fell, Blade, New Avengers, Uncanny X-Men. I could use some lunch--less for the food and more for the desire to get my ass out of the store for a few minutes. (This is why people who work retail, smoke.)

1:32 p.m.: The couple leaves, having bought two issues of Fell, two issues of Wormwood, and two issues of 30 Days of Night. Ben Templesmith fans would be what I'm thinking.

Forty seconds after them, a long haired kid with green streaks buys Iron Man #15, Nightwing #131 and that latest issue of the Scarface mini. Huh.

1:36 p.m.: The fourth sub's out the door and, yeah, forgot to mention subscriber number three, sorry. After buying a handful of Vertigo titles and the latest Optic Nerve. See? Optic Nerve. Big, big seller for us. Asks if the second Rocketo trade has come out yet. (Uh, no?)

1:45 p.m.: Current store count: subber number five, a pair of women, and a tall guy with a camo ruck, a Cure haircut, a flannel shirt and an angular sunburned face. Oh, and a trucker cap. The tall guy has enough interesting quirks to his appearance for five people.

1:47 p.m.: Trucker cap leaves empty-handed, but very pleasant. One of the women asks about back issues of Anders Nilssen's Big Questions, and I can't help her--we've just got two of his trades. I give her an APE bookmark and suggest she look there, but she says she's from out of town. She gives the bookmark to her friend, who says she'll go and look for the books if her friend makes a list of what to look for. Awww. That's a friend for you. On the way out the door, the woman who says she'll go to APE says to her friend, "Yeah, [guy's name] is having Art Spiegelman do all this stuff?" Which suggest she's probably better-connected to finding those issues of Big Questions then she either realizes or lets on.

1:51 p.m.: Mail call! And nothing for me. Although the excitement of opening and setting out the free screening tickets for Severance is mine and mine alone.

1:57 pm.: GRAEME!! stops by for a few as he's getting ready to head out of town for the weekend with Kate. I finally loan him my copy of Empowered. He essentially has stopped by to tell me that he's very excited about next week's signing, which is great becuase I am too, but he's excited in that "not puking blood" overreacting kind of way and I am. (He also already knew about the Omnibus, damn it.)

3:03 p.m.: And suddenly it's over an hour later. Graeme leaves, along with sub no. 5. A few weeks ago, I'd talked briefly over the phone to an ex-retailer in the U.K. who was coming over here to shop for silver age books. At the time, I turned him on to Al's and a few other places, but he and his friend stop by today anyway, just to make sure we don't have anything.

We don't, but nevertheless he buys a Batman year one t-shirt (second one of the day, weirdly enough) and shoots the breeze while waiting for his cab to show up and shuttle him out to the avenues.

While he's here, more people show up including a semi-regular who picked up the first two issues of Joss's Buffy last week and so I recommended Runaways #1 to her--she also buys Y: The Last Man from us so I figured it'd be a pretty good fit--and so she's back to start in on our Runaways back issues. Then there's the couple from San Jose--she ends up buying Optic Nerve and Love & Rockets, he buys fifty gajillion back issues, including a huge chunk of Daredevil back issues by Bendis and Maleev. She makes a joke about staying in bed all weekend together and reading comics. Awwww.

Another subscriber, in and out in under ten minutes. A very quiet older gentleman steps up to the register with a great handful of books--both Don Rosa Scrooge books, volumes 1 and 2 of the Superman Chronicles, It Rhymes with Lust and the girly art cartoons of an artist I always think is Dan DeCarlo but isn't (or maybe it is). [Ed.: I'm 90% sure it's The Glamor Girls of Don Flowers.]

I really should get lunch soon.

3:15 p.m.: A teen girl suddenly appears in the doorway with wide eyes. "Do you have Naruto?" Her family trails in a few seconds later; they're traveling from Omaha to (I think?) Washington. The mom tells me, "My daughter looked you up on Google when she found out we were coming here, so... it works!" The daughter buys two volumes of Naruto while the family walks around the store, caught somewhere between awe and amusement that such a thing exists. Or maybe they're just burnt out by their time on the road. The mom and (I assume) the dad look through a few volumes of Tintin, having heard from someone else that they're reallly good, but they don't buy anything and then they're gone.

3:30 p.m.: A tall guy in running shorts with a black IPod strapped to his arm, comes in and asks if the latest issue of Buffy is out and seems really excited about it. "Really? Issue #2? It's out? When?" He's just started jogging but assures me he'll be back.

So, yeah, I'm starting to see what Hibbs is talking about when he says that this Whedon Buffy stuff could have legs for us.

3:40 p.m.: My friend Theresa calls on my cell to tell me her sister Jean just had a baby. Of course, this being the real world, the store phone rings at the same time and it's the guy from the Bay Guardian calling to remind us about the deadline for the ad we're placing promoting the signing. I'm really glad he called because Edi sent the ad to him yesterday. After a few seconds of him checking his inbox, then looking at the attachment to see if it's formatted correctly, we're good to go but it ends up cutting my time with Theresa short.

3:50 p.m.: The jogger is back, true to his word. Asks about Runaways, but doesn't pick it up. One of the two subbers who buys 2000 A.D. drops by for his weekly fix and, to my delight, picks up The Professor's Daughter just "because it looks good. "

Oh, and after forty-five minutes of browsing, the eccentric lurker of the day (dressed in all black, bearing luggage, wearing galoshes) leaves. He asks several questions ranging from the very knowledgeable ("Do you have any works by Tardi?") to the, uh, less than knowledgeable ("Image? That's Marvel, right?" which sounds kinda crazy but since he follows this up with asking if Vertigo is DC, it actually makes a weird kinda sense.)

Now, if this other subber buys his books and heads out before someone else comes in, I can grab "lunch." I probably shoulda booted him or galoshes guy for a few minutes but I actually brought food with me today so I'm not dying or anything.

3:57 p.m.: Subber leaves and of course a guy comes in at the same time. I'll give him two minutes and hit lunch.

Also, forty-five seconds after the last subber leaves, I realize I went to college with the guy. Forty-five seconds after that, I realize he's left behind one of the books he bought. Shit.

I call the number we have on file for him in the hopes that it'll be his cell phone but it's an old answering machine where "The Girl From Ipanema" is playing on the background through a rainstorm as funnelled through a paper towel roll. (Good ol' answering machines.) I leave a message, write out a note explaining what's happened, and put the book back in his slot.

During all this drama, three more people have come in: a dude who does a lap around the store and heads out, and a couple browsing the crime section. Another subber comes in, fills out the form, shoots the shit. Topics range from The Boys to The Secret Six (he didn't know about the crossover with Birds of Prey so I hunt that up) to Y: The Last Man. Then he goes and checks the racks. When he asks what I'm reading and what's good, I go and hunt up a copy of The Professor's Daughter which he looks through and nods.

4:22 p.m.: The Brazilian musician who wanted the Geiger book is back to browse. Someone else comes in with a bottle of orange sports drink, gets a call on his cell phone and leaves. It's just five people quietly browsing comics, the radio playing old UB40 and my stomach, gurgling merrily. I can handle missing lunch, but I can't handle old UB40. I get up and put on the soundtrack to One From the Heart.

4:33 p.m.: Maybe it's the hunger talking, but this Dr. 13 story by Azzarello and Chiang in the latest Tales of the Unexpected is kinda brilliant and really, really amusingly savage about the current state of DC affairs. And just unbelievably gorgeous art by Cliff Chiang. I pray to god this sucker gets collected in a trade because I haven't been buying the issues.

4:40 p.m.: A German (or maybe Austrian?) guy comes in asking what's "good." His benchmark, when asked? "Oh, I liked Spawn five or six years ago." I point him to Walking Dead and cross my fingers.

4:43 p.m.: So the guy I pointed to Walking Dead after he said he likes Spawn? Comes to the front with....Kafka, that biography with art by Crumb. Go figure. The guy tells me a little bit about the Yerba Buena Crumb show which I've entirely forgotten about until he mentions it. Not a big show, according to the guy. "Just one room, and not even any Fritz The Cat." Hmmm.

5:00 p.m.: And suddenly everyone leaves at once: the two subbers, the couple who was browsing the crime section (French), a bunch of other guys. Somebody shows up to pass out cards for APE related showings and it turns out it's Dave Crosland! Holy crap!

 

***

And that's where I had to stop because (a) Rob Bennett showed up to see how I was doing and brought Guinness; (b) I had to go get something to eat, finally; and (c) it got even busier from there on out. Although the quality of my anecdotes would have improved because Ian Brill, James Masente, Dave Robson (also bringing beer, bless him) and Peter Wong all showed up and spent time hanging out and shooting the shit, I just didn't have time to even take notes. And Lord knows how I'm gonna write reviews this week since I read so little and during so much business...

But, anyway, there's your peek behind the curtain. Surprising, or no?

The Carpenter and the Walrus: Jeff Does the Non-Comics Thing for a Sec...

Forgot I'm at the store on my own today, so the liveblogging? Ain't happening. Wow. I'm just full of broken promises this week, aren't I? And while the tank's still on empty as far as comic books go, here's a film or two I've seen in the last week, and maybe I can still wrangle an uncomfortable comic book comparison or two:

THE LOOKOUT: I think my wife may have developed a "thing" for Joseph Gordon-Levitt after watching Brick, because this film suddenly jumped to the top of our to-see list once it came out. It's a very solid film written and directed by Scott Frank (for whom the warm spot in my heart for adapting Out of Sight is mitigated by the very cool spot in my heart for writing Dead Again), caught somewhere between a crime film and a character study. Gordon-Levitt plays a brain-damaged guy working as the janitor and night man at a small time bank who's embroiled in to a plot to rob the bank. As I say, it's a very solid film with a near-great performance by Gordon-Levitt who nicely underplays the part, and a script that's an astonishing piece of craft. Despite all that, it's no more than highly OK--Edi and I talked about the film a day or so later and realized neither of us had thought about it for more than a second after seeing it--maybe because Scott as first-time director plays his visuals a little too safe, or maybe because, as sometimes happens in tightly crafted crime pieces, people act only as little cogs that move the plot forward. Worth a rental, though.

SHOOTER: Yeah, I never heard back when I asked if anyone saw this and now I know why: after you walk out of this movie, you'll go to great lengths to pretend you never saw it. This "adaptation" of Stephen Hunter's deeply engrossing Point of Impact cuts everything out of Hunter's book the filmmakers thought the audience would find dated, corny, overly complex, or satisfying and puts in a whole bunch corny, overly simplistic, dull talky stuff that will age badly.

Here's a good example: in the book, after Swagger is double-crossed and shot, he manages to make it far downstream, makes his way into some scrublands, and finds and kills a boar, whose protein rich liver he is able to eat raw, giving him the strength to go on even though he's steadly bleeding out. It's a cool scene, filled with fun facts about eating why the liver is one of the few organs you actually can eat raw, but okay, I can see how it might look a little ridiculous to your average filmgoer and the filmmakers needed something different. Okay. So in the film, Swagger manages to make it far downstream, steal a truck, make his way into a small little town, finds some tin foil in a dumpster, shorts the lights in the country store so he can't be seen by the clerk, buys some sugar, salt, water, and a turkey thermometer, goes on to create a rejuvenating concoction, and injects this concoction by shooting himself up with the turkey thermometer in a gas station. Yeah---that looked a lot less ridiculous, guys. Nice job.

In fact, there's a distressing amount of emergency shopping in Shooter--so much so, you wonder if they should've called it Shopper, instead. Once Swagger makes it to the home of his dead buddy's ex-fiancee and convinces her to help him, he gives her a massive shopping list of stuff she'll need to conduct surgery and remove the bullet. (Of course, this involves eighteen cans of whipped cream, so that Swagger can use the nitrous as anesthetic--and no, I'm not kidding.) Later, when Swagger and the FBI agent who's decided to help him have to prepare for an assault on the trap that's been set for them, they go to a big-ass department store and race up and down the aisles with their shopping carts, pulling in huge swathes of shirts and nails and other goods they'll MacGyver into C4 and napalm and booby traps. The message is clear--when your precious government is riddled with corrupt black-op agencies working for the highest bidder, the only way you can fight them is by shopping. It's a strange updating of Hunter's Second Amendment oriented thriller--one wonders if the Swagger of the movie drives a pick-up with a "You can take my charge card when you pry it from my cold, dead fingers" bumper sticker.

Oh, and the action scenes are dull and there aren't enough of 'em. Truly Awful.

GRINDHOUSE: I'm supposed to see this tomorrow but I couldn't hold out any longer and caught a matinee yesterday. I could bore you with a million different thoughts about the thing but I'll stick to one central point: Rodriguez and Tarantino may now own the grindhouse, but apparently John Carpenter built it. Rodriguez's Planet Terror is riddled with classic Carpenter flourishes, from the self-composed keyboard hums, to the disastrous fate that befalls a child, to the mixture of jokey, aw-shucks humor mixed with outrageously disgusting effects. (Admittedly, Rodriguez pulls from a bunch of different other sources as well, but the Carpenter stuff is the stuff that really sticks.) Similarly, Tarantino's Death Proof tries to throw a lot of different stuff into the mix, but the long, near-interminable conversations between the first four girls mirrors the far crisper, naturalistic conversations among the four girls in Halloween. Throw in Eli Roth's trailer, and Grindhouse is a veritable John Carpenter tribute joint.

Which is all fine and good. I quite enjoyed Grindhouse, but every failing that Grindhouse has (including, arguably, its financial one) comes from emulating just about everything Carpenter did while ignoring how Carpenter had to do it. I don't know if you've ever listened to one of the Kurt Russell-less John Carpenter commentaries, but Carpenter gives (in a bored, laconic tone) some advice that really reinforces how much money mattered in his early films: in one commentary, he talks about running the title credits on a black background because it's that much more time you can fill up without having to shoot any film. Carpenter had to come up with ways to get his films to run ninety minutes because he only had the budget to shoot eighty-some-odd minutes of film. By contrast, Rodriguez and Tarantino have trouble keeping their movies to length, because anything they can think of--endless credit sequence of naked women feet, genital-leaking rape scenes, that chick from the Black-Eyed Peas bending over a car engine--they can get.

That said? Quite enjoyable, highly Good, and unlike The Lookout, there's stuff I'm still pondering a day later. As I said, I'll spare you the rest of it, but you could fill a book with the comparison and contrast and strange subtextual rumblings running through Grindhouse, and hopefully someday someone will.

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.

Eight Days Away....

It's almost ready. Are you?

Sorry for being so tardy with the posting lately. I sat down this morning to write a few reviews and found myself stuck: I spent over an hour typing sentences and deleting 'em, typing and deleting in turn. Anyway, I have tentative plans to try liveblogging from the store tomorrow so hopefully that'll work out a bit better. Lord knows there's enough coming out....