Conner, Gray & Palmiotti leave Power Girl
This blog post written by James Hunt on Mar.13, 2010.
Comic Book Resources reports that the current Power Girl team of Amanda Conner, Jimmy Palmiotti and Justin Gray will be leaving after issue #12. If you read my recent review of Power Girl #8 you’ll know that even as the site’s designated Marvel zombie, I felt that this was a really special series, so It’s a huge disappointment to have the run suddenly capped off with such little warning.
The reason for this decision is that Conner can’t, for whatever reason, continue her commitment past issue #12, and Gray & Palmiotti feel like they should all bow out together rather than carry without her contribution to the book’s tone and appearance. In that sense, good for them – it’s always good to see creators make a timely exit – but on the other hand, as one of the few DC books that outshines the majority of Marvel’s output, it’s a blow for them to be going just as people were really starting to sit up and take notice of their work. The follow-up creative team has not yet been announced, so good luck to whoever that turns out to be – after all, they’re going to need it to live up to the standards that have been set.
On the plus side, there’s a collection of the first few issues out soon, and a second will presumably follow collecting the rest of the run. I’m not much for DC Universe books, but I suspect I’ll be buying those TPBs.
Batman & Robin #10
This review written by Seb Patrick on Mar.12, 2010.
If you’re not enjoying Batman & Robin, I really have to wonder what you’re doing reading superhero comics at all. It runs on sheer exuberance, expanding the “figurative exploration of the Batman myth” theme of Morrison’s earlier run on the main title in a way that is simultaneously more simplistic and accessible, yet also arguably deeper and richer. And while it’s liberated by the absence of its central figure, it’s steadily making itself more and more about him, heightening anticipation for his eventual return.
Yet at the same time, if there’s one hope that comes out of this series, it’s that the status quo doesn’t simply revert back when Bruce Wayne reappears. At the beginning, that seemed like the expected state of affairs – Tim Drake was only temporarily relinquishing the Robin cowl to Bruce’s brat of a son for the duration of this series, and a year or so down the line the “proper” Robin would be back. But now, well, Damian’s not the only one wondering if “[his] father will let [him] stay on as Robin”. Quite against expectations, the little tyke has made his mark on the role, and unless Morrison decides to bring his story to an end (a possible end point is ominously hinted at by the reintroduction here of Talia), he’s rather sneakily (compared with the usual fanfare that accompanies a bona fide new version of a costumed hero) become an actual part of the mythos. Tim’s just going to have to find something else to wear when he gets bored of dressing like Dr Midnite’s younger brother.
Returning from his jaunt to his home isles, meanwhile, Morrison gets to pick up a character thread loosely dangled in earlier issues – that of Sexton Oberon, the mysterious masked detective known as the Gravedigger. What’s pleasing about this conceit is the way it works as in inversion of the way writers usually handle the idea of Batman-esque characters showing up – the focus is always on vigilantes that go around duffing up the bad guys, essentially replacing the “fighting” side of Batman; rarely does anyone bother, however, to put a new detective on the scene. There’s also, of course, another of those “who is it really?” questions, with dialogue from Dick planting the idea that it’s someone already known rather than a new character. Going by his mannerisms, speech patterns and dress sense, I’d guess at James Robinson’s version of the Shade, but somehow I doubt that’s the case. It’s another little mystery to chew on, though, not least because we’re still in the dark as to his ultimate motivations.
An inability to rely on the art (I mean, really, having Tan in between Quitely and Stewart was just asking for unfavourable comparisons) has sadly prevented Batman & Robin from retaining grade-A excellence throughout so far, and Andy Clarke probably falls somewhere between the quality scales of his predecessors – he’s decent, and at times great, but falls down on some instances of character work: when in-costume, Damian simply looks too much like Tim Drake, and his Talia is particularly odd-looking. Dick and Alfred fare rather better, and there’s a good atmosphere to the whole thing – as well as a cracking overhead landscape shot on the title page that winds up looking almost like a Chris Sawyer isometric strategy game, yet somehow still works – but there’s a jolt late on when a piece of storytelling, involving Dick and a trap-door, is rather unclear (still, it’s nice that for once in an issue of this comic, the difficulty in following isn’t caused by a balloon-placement error).
Concentrating more intently on the wider mythos-building, this issue lacks the giddy thrill of the previous arc – but it’s nevertheless exceptionally strong work once again. There’s a focussed excellence that seems to have been drawn out of Morrison by the switch to a dedicated series, as opposed to the patchy glimpses of genius that were witnessed in the pre-RIP issues of the main title, and it’s a shame its time is nearing the end – because unless he’s got another All-Star Superman or Seaguy waiting in the wings, it’s hard to imagine him topping this with his next work.
Demo (vol. 2) #2. Again.
This blog post written by James Hunt on Mar.11, 2010.
You’ve probably already had a look at Seb’s review of the latest issue of Demo, but I also wanted to point people in the direction of the review of it I wrote for CBR. If only because it articulates a little of what I love about the series (and because I’ve seen some rather odd interpretations of the issue out in the comics-ether. This issue is prone to interpretation, and I know it’s not good form to tell people their interpretations are wrong, but if, as I’ve seen some people say, you think this issue is a commentary on extreme dieting as part of a weight loss regime, I really don’t know what comic you were reading.)
Mock! YEAH! Ing! YEAH! Bird! YEAH! YEAH! YEAH!
This blog post written by James Hunt on Mar.10, 2010.
According to CBR, McCann and Lopez, creators of New Avengers: The Reunion will be teaming up again to produce a new ongoing series entitled Hawkeye & Mockingbird. And somewhere, there’s a lawyer at Warner Bros. suspiciously eyeing copies of Green Arrow & Black Canary and wondering if they can sue.
Joking aside, New Avengers: The Reunion was a fantastic miniseries, which I would describe as “True Lies meets Mr. & Mrs Smith in the Marvel Universe”. Despite being quite early in his writing career, Jim McCann has turned out some great comics in the past, and David Lopez does some of the best straight-up superheroics you’ll see outside an issue of Power Girl. Regardless of how big a fan you are of the characters, this series has all the necessary ingredients for a brilliant and quirky take on superheroes. And a fairly rubbish title, which we’ll forgive.
In any case, with the series looking like a guaranteed critical success, the campaign to save Hawkeye & Mockingbird from cancellation begins now! After all, if we’ve learnt anything from the whole S.W.O.R.D. debacle, it’s that a proven creative pedigree and familiar characters is no way to launch a series. I want to see this on EVERYONE’S pull list, y’hear? And if you need more convincing, check out my increasingly positive reviews of New Avengers: The Reunion #1, #2 and #4 (on CBR). Or better yet, buy the trade of the miniseries and see for yourself.
Demo (vol. 2) #2
This review written by Seb Patrick on Mar.10, 2010.
Well, with Phonogram over and done with, I suppose I’m in need of another series of standalone vignettes each focusing on a different (yet not entirely unconnected) facet of a central high concept, doing so in a way that emphasizes the single issue format, and which is generally worthy of a deeper and more nuanced investigation than many of its peers in the field. Unlike The Internet’s Biggest Brian Wood Fan James Hunt, I’ve never read volume one – but therein lies another common trait with Phonogram, the irrelevance of such prior context a point I was always keen to press when reviewing that book. That said, having read #1 of this second volume, I think I actually enjoyed it more than m’learned colleague – perhaps because I didn’t actually see the twist coming (this despite it being, when it happened, pure Tales of the Unexpected).
So to issue #2, then, and a clear indication that the hook that holds the series together is a looser one than previously appeared. It was my understanding that each issue dealt with a different individual in possession of supernatural powers of some kind – and while it’s just about true of this one, it’s not really what you’d call a “power”. If anything, it’s the opposite of a “superpower” – it’s a superdeficit. Or a “subpower”. However you want to linguistically flip it. But the thing is, you could take away any hint of supernaturality from the story, and it would be exactly the same – the literal reading of it is that it’s a physical characteristic, but it could just as easily (and this is, perhaps, the scary part) be a psychological one instead.
Either way (and since the latter view changes the overall interpretation somewhat, I’m choosing to look at the issue from the more supernatural perspective implied by the series as a whole), while the topic in question is hardly untouched in fiction (heck, there’s another comic out there – Chew – covering broadly similar territory, albeit in a wildly different fashion), Wood brings to the table an examination that’s thoughtful at the same time as shocking. This is a stark, bleak little comic – and yet it’s hard to truly argue with the way it sympathises with its lead character. This isn’t about a twisted desire, it’s about something more unstoppable: a hunger that the (unnamed) protagonist can’t, for whatever reason, otherwise sate. In other words, it’s taking to an extreme – yet logical – conclusion an aspect of living that we all experience; it’s just that in this case, pushing this particular biological impulse past society’s usual boundaries makes it immediately grotesque to us. And while we and he know his murders to be reprehensible, there’s a punishment – of sorts – in the alternative action he later forces himself to take. You’re left never really knowing whether this is someone truly sinister, or a victim that we could in some way be empathising with.
This ambiguity is only enhanced by the work of Becky Cloonan – someone I’ve never fully clicked with, but reading this shows me that her true strength lies in stark black-and-whites rather than the coloured work I’ve seen in things like American Virgin. She makes the protagonist a terrifyingly thin and haunted figure – thus immediately casting him as an obvious-looking “villain” – yet something about him softens towards the end, even as he’s making himself frailer and thinner. She also somehow manages to emphasise the pure body horror of the story even when working in two colours and heavy shadow, and almost entirely with implication – indeed, you suspect it’d be rather less creepy if we were seeing everything in full-colour splat-o-vision.
I’m not sure, though, that Demo – in this second volume, at least, as I can’t comment on the first – quite takes on the role of being the deep and surprising examination of the human psyche I might have expected. This is certainly interesting – and really quite well-crafted in the way it makes one shiver to read it – but much like the earlier Wood work with which I’m familiar (Local) it intrigues rather than full-on captivates. Not that that intrigue isn’t enough to keep me interested in trying the next issue, or indeed catching up on the much-lauded first volume – but it’s not made it to New Favourite Comic status just yet.
Nerd’s Eye View: Iron Man 2 Trailer
This blog post written by James Hunt on Mar.08, 2010.
Blah blah Youtube blah. And now, the main event:
Anyone who has ever read Iron Man knows that the briefcase armour is Proper Comics. Something just crazy enough that it shouldn’t work. The fact that someone spent millions of pounds making sure that it did is reason enough to love superhero movies. Note: other things that are Proper Comics include Wolverine’s bone claws, Galactus’ skirt and Ghost Rider. As you can see, we should be grateful that someone’s making the effort to do the source material justice for a change.
Listen, Mr. Samsonite, about the briefcase...
Anyway. What does that armor look like once it’s on? Why, it’s a version of the “Silver Centurion” suit! Many people actually prefer this colour scheme to the traditional red and gold. I’m not sure if I’d count myself among that group, but I can’t deny that it is awesome to see it on screen.
Coming in Iron Man 3, because you demanded it and because there are now no other major designs left to depict: the infamous "nose" armour.
Say what you like about Mark Millar, but him and Bryan Hitch are pretty much the only reason that anyone cares about this shot:
Will Iron Man help get those motherfucking snakes off the motherfucking helicarrier? I haven't checked, but I'm fairly sure no-one has made that joke before.
Personally, I’m disappointed they didn’t go with the original Black Widow costume, but I’m not sure even Scarlett Johansson could have pulled that one off. Plus, this way they probably don’t have to pay the estate of Don Heck any additional royalties:
"Originally I was a ballerina, but at the news of my husband's death, I became a spy for the KGB." (dialogue from Marvel: Ultimate Alliance)
There is currently no word as to whether they’ll be using the “violence-loving nutcase” version of War Machine from his most recent series, but from Cheadle’s generally quite tentative portrayal of the character, I’m guessing not.
James Rhodes sports the "Variable Threat Response Suit", later renamed "War Machine" by someone with no apparent sense of irony.
Now, rule #1 of Internet Criticism is not to judge a film before you’ve seen it, lest you end up looking like one of those foaming lunatics on the AICN forums. However, it is my judgement that this film will be awesome. Between this, Kick Ass and Scott Pilgrim, I’m fairly confident that this year’s wave of comics films is going to more than compensate for last year’s Wolverine/Watchmen debacle.
