Review: Flash #12

The Flash #12
Written by Geoff Johns; art by Scott Kolins and Francis Manapul; DC.

Splitting art duties between Francis Manapul and Scott Kolins wasn't so bad when Kolins would do the occasional fill-in issue to give Manapul a chance to catch up. They're both competent artists and their styles have enough similarities that it didn't seem like a complete break. But when you put them side by side in the same issue, as happens here, it's a bit harder to swallow because it becomes clear that Manapul's art is vastly superior. The few pages that he illustrates really stand out, and it doesn't do Kolins any justice to have to compete with that. Once again, it's a case of poor scheduling choices from DC editors where it became necessary to have multiple artists on a single issue in order to meet deadlines. I wish DC would make more effort to avoid this sort of thing. (And no, I don't blame the artists.)

Script-wise, this issue may only have a single scribe, but there are still lots of problems with it. I'm not a Geoff Johns hater. I think he's very good at coming up with epic ideas and stories that evidently appeal to the fans. But when it comes to the actual scene-by-scene scripting of his books, sometimes I find it a bit weak.

In this case, the action scenes in the first half of the book are okay, but the emotional stuff in the second half is handled so poorly that some of it actually made me angry. 

First, there's a totally unconvincing reconciliation between Barry and Bart. It's unconvincing because the conflict didn't really make any sense to begin with. It came out of the blue last issue when the entire speedster family decided to have an "intervention" and confront Barry about how emotionally distant he's been (despite the fact that nothing in the previous 10 issues really hinted at him being emotionally distant, aside from the fact that he was too busy to attend a fucking family picnic, 'cause he was, you know, catching bad guys) during which Bart stormed off like a little crybaby for apparently no reason. And now, after a big fight during which Bart was almost killed, they're pals again. They haven't really dealt with whatever it was that was bothered Bart. It just magically resolved itself while they were fighting side by side against the Reverse Flash. I guess that's male bonding.

That's only a one-page scene. What follows is much worst. It's a goodbye scene with Patty Spivot which, again, feels pretty hollow because we never really got a good sense of what their relationship was all about in previous issues. But what's so terrible about this scene is that it sets up one of the most infuriating clichés of bad drama. Patty confesses she'd been hoping they'd be more than co-workers or even friends, but she respects that he has someone else in his life. Barry politely lets her know the feelings are not mutual, while tenderly stroking her face (seriously, who does that?) and they they hug. It's the most harmless, passionless, sexless, lifeless scene ever. Both characters are being very respectable and chaste and mature about it, and aside from that ridiculous face stroke, there's nothing reproachable about their behaviour. It's clear that they have no intention to commit adultery, because they're such good people. And of course, you can see it coming from a mile away: Barry's wife, Iris, walks in on them at exactly the wrong moment.

It's just such bad writing. The set-up is obvious and predictable, and yet it feels completely contrived and removed from anything anyone's ever experienced in reality. What follows is so by-the-numbers I don't even have to describe it, because you've seen it a hundred times in bad movies and bad TV. The dialogue is lifted right out of the book of clichés: "Iris! You remember Patty Spivot?" "Of course."

The only thing that goes against what you would expect here is that Iris is such a good wife that she doesn't even get the wrong impression from what she's witnessed, despite Barry's awkward fumbling which make him seem guilty. She tells him he doesn't have to explain anything, because she trusts him. At first I was like, "Oh, well, at least Geoff Johns didn't go there." But then I realized this was even more infuriating, because it doesn't to any kind of conflict or drama and it just serves to highlight how flawless and incredibly bland these characters are. The whole Patty Spivot subplot in these last few issues was stillborn, because they never flirted, Barry never got an erection and he was never tempted. There was never any sexual tension. And now Iris, being the inhuman cardboard template of a perfect wife that she is, doesn't feel any jealousy. She's just full of compassion and understanding and concern for Barry's wellbeing. And they discuss this over coffee while holding hands and looking into each other's eyes and being very mature about it. It just makes me vomit.

This is the final issue of The Flash. It started out strong with some really brilliant issues with gorgeous art by Francis Manapul. But about halfway through, it became clear that Geoff Johns wasn't really interested in telling stories in this book and that it functioned merely as an elaborate set-up for this summer's big "event," Flashpoint, the first issue of which also came out this week. If you've been following The Flash all along, then you'll probably want to pick this one up for whatever closure it offers. (Hint: not much.) Otherwise, don't bother. If you're interested in Flashpoint, you can just go straight to #1 and you won't be missing any crucial information.

AWFUL

Comic Book Carnage 006: Xombi #2 and Flash #11

Xombi #2
Written by John Rozum; art by Frazer Irving; DC.

Mike: The nuns with guns issue.

Yan: Yeah! Before we start, I want to mention that I read an interview with Rozum on CBR where he says they'd discussed doing this series on Vertigo, but one of the reasons it ended up in the DCU was to avoid confusion with iZombie. Which strikes me as a missed opportunity, because I feel like this book would have a much better chance of finding an audience on Vertigo. I think he said the editors also wanted to have it set in the DCU for other reasons, something about needing a book to deal with the the supernatural or magic side of the DCU.

Mike: That's ridiculous. Can you imagine The Flash rolling up to help David Kim fight, I don't know, some demonically possessed Taco Bell or whatever?

Yan: It's gonna be awful when that happens.

Mike: If they wanted a magic/supernatural book it would have made more sense to use a much more accessible character like Dr. Fate, or perhaps do that in Zatanna since it's already around. Xombi's premise is just too out there for the average DC fan, so yeah, the decision not to go on Vertigo was terrible all around. NOT that we're saying we think this book will be canceled or anything.

Yan: We're definitely not saying that. I just think the book does a fine job of creating its own universe. I don't really understand why there's any need to have it be set in the DCU. I don't really care if it's on DC or Vertigo, but the moment Batman or Superman shows up in this story, something special will be lost. Not that it has to be Batman or Superman. Maybe a guest appearance by Zatanna or Etrigan would be cool. I don't know. We'll see, I guess. I just don't want this to get hijacked into some stupid crossover.

Mike: So let's talk about the issue itself. This picks up right after things got crazy at the prison and just gets even crazier. I'm glad to see John Rozum is able to match the bizarre ideas of the last issue, my favorite being the introduction of this issue's villain/monster/concept?

Yan: Yeah, it's a cool villain. (If we can call it that.) And we really only get a glimpse of him and some foreshadowing of how dangerous he is. Definitely piqued my interest. I really liked the scene at the beginning where David Kim's arm is regenerating and he has to tell everyone to stay away from him to avoid them being used as raw material to patch up his wounds. It illustrates how weird and problematic his "powers" are.

Mike: That leads me to my one concern with this book, just how well do you think John Rozum's doing in giving David Kim a personality?

Yan: Why, you find it lacking? I think he's doing fine.

Mike: I guess I find his and most of the cast's personalities to be a bit vague. Like, other than their strange powers, there doesn't seem to be a lot done to differentiate them. I need a little more than scribbled out profanity.

Yan: I think there's a lot more. Besides, we're only two issues in and there's been lots of action, so I guess there's not a ton of time for character development, but I feel like the dialogue has enough attitude that it gives me a good idea of the characters' personalities. Plus, Frazer Irving's art helps a lot. His character designs and facial expressions and poses are excellent. You get a real sense of the characters' mannerisms and body language. Like David's face when the coins fall out of his pocket, or the flamboyant way he points down when he says, "Change back into your other half. Now." It's hard to separate who is responsible for it between Rozum and Irving, but the combined effect for me is pretty satisfying.

Mike: Well, I'll agree with you that Frazer Irving gives personality to the cast, and I would argue that it's probably his artwork that makes this book so enjoyable. The guy puts so much effort into every square inch of this book and for me that's why Xombi feels so engrossing.

Yan: The art is amazing, but I don't want to sell Rozum short. I think his dialogue goes a long way too. The only thing in this issue I thought was a little bit awkward was the third-person narration about the homunculi. I can't remember if there was a lot of third-person narration in the first issue. But in that scene, I would have preferred to get an interior monologue instead. Not only would it have been more effective for the scene, but it bothers me that the narration switched from first-person at the beginning of the issue to third-person for no real reason. Other than that, I thought this issue was great. Great marriage of writing and art. I can't imagine the book with a different creative team, so I hope they keep it going for a long run. I'll rate this one EXCELLENT.

Mike: Despite my nitpicking I will also give this book a firm EXCELLENT.

Flash #11
Written by Geoff Johns; art by Scott Kolins; DC.

Mike: I remember when this current Flash series started, I was just starting up my blog and I had nothing but nice things to say. Now we're, what, 2 years later, and I don't even know why I liked this book to begin with.

Yan: It's only been a year, but yeah.

Mike: Oh, well, good, because 11 issues in 2 years would be shameful, but anyway. Geoff Johns is not doing his best work on this book. When I was reading this issue, I felt like I was reading a first draft, like there's good ideas in here but it's all delivered in so unfocused a manner that it loses all impact. Like this new character shows up - Patty Spivot - who is an old flame of Barry Allen's. The idea of Barry having to deal with lingering feelings for Patty would have been an interesting plot development that would help to define his personality, but instead it's handled in this aggressively vague manner. Like, I wasn't even completely sure there were supposed to be lingering feelings until Patty explicitly acknowledges them.

Yan: The Patty Spivot subplot seems unnecessary. If you're not going to have time to explore it properly, then just don't bother. I mean, this title is now officially cancelled, right? This was the last issue. If she's not playing an important role in Flashpoint, then introducing her here was a total waste of time. I guess that remains to be seen. But what bothered me more was the scene with Bart acting like a little baby because Barry didn't show up at the family picnic. WTF? That "intervention" scene was ridiculous! I mean, how much time has even passed since Barry came back. I feel like these 11 issues only span a few days. A week at the most. So Barry Allen came back to life, went back to his old job. First couple of issues showed that he had a great relationship with his wife. None of the other speedsters are even mentioned for the entire run until the stupid picnic comes up, and now all of a sudden they're having an intervention because... what exactly? I'm not even sure. This drama comes out of nowhere.

Mike: Yes, the intervention was pretty bizarre. Like there was just no way I could wrap my mind around the idea that a group of guys with very similar backgrounds couldn't accept that someone from the same background would be incapable of showing up for their picnic. Also I really hate that a picnic is the catalyst for all of this. Picnic is a goofy word, so any drama Johns was attempting was negated by the constant utterance of "picnic."

Yan: It feels like these ideas were just tossed around carelessly. Maybe Geoff Johns has too much on his hands these days with his Chief Creative Officer duties, wrapping up Brightest Day, and orchestrating the whole Flashpoint event. But this just reads as sloppy. And it comes back to what I said in my review of the previous issue, which was that this book should have been given at least a couple of years before leading to this cross-company event. There wasn't really enough space to explore everything, so it feels very rushed. Now the question is: Are you going to read any of Flashpoint?

Mike: I really hate myself for saying this, but I may pick up the first issue. I think the reason is I like The Flash, and much like seeing a close friend struggle with alcoholism, despite how bad things get I love this character too much to walk away.

Yan: I feel pretty indifferent about the character. I gave this title a shot because it launched right around the time that I started buying comics, so it seemed really convenient. And I fell in love with Francis Manapul's art, so that's what kept me onboard this long. (Speaking of whom, I wonder what he's working on now. I don't remember seeing his name on any of the solicitations for DC in the next three months.) But I think I'm going to pick up the first issue also, mostly out of morbid curiosity. There's a good chance that by the end of the summer, I'll drastically reduce the number of books I read from both DC and Marvel.

Mike: Even though I'll probably buy Flashpoint #1, I'm giving this book a SKIP/DROP

Yan: Honestly, I don't know how to rate this. Other than the ridiculous intervention scene, it's not really that much worse than all the issues that preceded it. As a lead-in story setting things up for Flashpoint, it's adequate, I suppose. But as a conclusion to an 11-issue aborted run of a new series that showed so much promise in its first couple of issues, it's just a shame. Totally unsatisfying. So I'll rate it WHATEVER.

UPDATE: It has come to my attention that this is in fact not the last issue. #12 comes out on May 11, according to DC's website, and will provide the conclusion. This doesn't really change my opinion of this issue, except for the criticism about it being a poor conclusion. We'll see whether #12 does any better at that.

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Mike appears courtesy of It's a Bit of a Shame.

One-paragraph reviews

Amazing Spider-Man #658
Written by Dan Slott; art by Javier Pulido; Marvel.

This issue’s mostly about Spidey joining the Fantastic Four, who are now called the Future Foundation and have stylish new black-and-white uniforms. I’m really enjoying Dan Slott’s writing on this series. He finds the perfect balance between Spider-Man’s adventures and Peter Parker’s personal life. He also keeps the tone light and fun. I don’t even mind that they keep changing artist after a few issues, because that seems inevitable on a book that comes out twice a month. I’d much rather have rotating but strong art teams than rushed fill-ins from mediocre hacks brought in at the last minute to meet deadlines. I could do without the back-up stories, but whatever.

GOOD

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Batgirl #20
Written by Bryan Q. Miller; art by Ramon Bachs; DC.

This two-part mini-arc within the larger “Lesson” arc wasn’t that interesting to me, but this remains a solid title. Miller’s scripts are always punchy and often laugh-out-loud funny. The solicits for the last issue, this one and the next all list Dustin Nguyen as the penciller, but he wasn’t on the last two issues and I’m assuming won’t be on the next. Ramon Bachs is all right, but because he’s filling in for Nguyen, it’s hard not to feel disappointed. Creative teams listed in DC’s solicits seem to be completely unreliable these days. Really makes you wonder what the hell the editors are up to that they can’t get any commitment from their artists or writers.

OKAY

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Birds of Prey #11
Written by Gail Simone; art by Pere Perez; DC.

Speaking of inconsistent art, Birds of Prey is the ultimate example of how to fuck this up completely. If DC had tried to sabotage this book and ensure that it fails, they couldn’t have done a better job. In this issue, we get a long overdue break from the terrible art that has plagued the title for the past few months, and it’s like a breath of fresh air. It’s just astonishing how much better Gail Simone’s scripts flow when they are serviced by a competent artist, which Pere Perez definitely is. (And, by the way, he seems to be moving to Batgirl in a few issues. But then again, why even bother checking the solicits?) This is a done-in-one story focusing on Huntress and guest starring Catman (from Secret Six).

GOOD

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Hellboy: Buster Oakley Gets His Wish (one-shot)
Written by Mike Mignola; art by Kevin Nowlan; Dark Horse.

There’s no colourist mentioned in the credits, so I’m guessing that means Nowlan is doing his own colours, and that, more than the art style itself, is what gives this book a different feel from most of the other Hellboy stories I’ve read, which usually featured Dave Stewart’s colours. Stewart is amazing, but this is nice, too. More vibrant, and very appropriate for the semi-sci-fi feel of this one-shot. I kind of wish I hadn’t read the solicits for this story (and if you haven’t, maybe you should skip the rest of this paragraph to avoid spoilers), because it starts out misleadingly as a Satanist thing but turns into an alien abduction thing, which is a nice twist.

GOOD

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Superboy #6
Written by Jeff Lemire; art by Marco Rudy; DC.

This fucking sucks. It should be a rule that new series have to reach issue #12 (one full year) before they get involved in any editorially mandated crossover. Aside from the nice art by guest artist Marco Rudy, this issue has absolutely zero redeeming value. If you’re following the story that Jeff Lemire is carefully crafting since issue #1, this is nothing but an interruption. If you’re following the “Reign of Doomsday” crossover, then all you’re getting here is the exact same thing you already saw in the Steel one-shot that launched this idiotic mini-event, except this time it’s Superboy getting beat up and noticing that Doomsday seems to have new powers. This is the very definition of pointless.

SKIP

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The Flash #10
Written by Geoff Johns; art by Francis Manapul; DC.

And here’s another book by DC that couldn’t go a year before getting disrupted by a crossover event. In this case, at least, it’s clear that it was planned this way from the start. But I can’t help but feel that this book went in exactly the opposite direction that I was hoping it would go. Wouldn’t it have been nice to get a good two years of straightforward Flash adventures set in Keystone City, with beautiful art by Francis Manapul, focussing on establishing characters, balancing Barry Allen’s private and professional life with his super-hero stories (similar to what we’re getting in Amazing Spider-Man) and featuring occasional guest appearance by the other speedsters in the DCU? The police procedural feel that was established in the first arc seemed ripe with potential for storytelling. This could have been something unique. But instead, it quickly turned into an extended prologue for the next big event, Flashpoint, until this current story arc, which is basically all set-up and no story. And I intend to read some of Flashpoint, so this is interesting and I’m still onboard. But a year ago when I bought the first issue, I was really hoping for a different kind of book. A kind of book that, perhaps, is no longer even possible, because of the way DC (and Marvel) market their books.

OKAY

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Journey into Mystery #622
Written by Kieron Gillen; art by Dougie Braithwaite; Marvel.

I was kind of annoyed with Matt Fraction’s decompressed arc on Thor. The art was amazing, but the story turned out to be pretty empty and basically just killing time before Fear Itself. So when the series changed its title to Journey into Mystery and Kieron Gillen took over, I was ready to drop it. However, I think young Loki is cute, so when I realized he’d be starring in this book, I decided to give it a shot. Turns out it’s much better than I expected it to be. Loki’s conversation with his older, former self at the end of the issue is a bit confusing to me, in part because I’m not very familiar with everything that happened in Siege. But I like the idea that this reincarnation is all somehow part of Loki’s plan to fuck things up by being unpredictable, and it makes the new, younger Loki a really fascinating and complicated character. I’m sold. (Nice art, too.)

GOOD

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Avengers: The Children’s Crusade #5
Written by Allan Heinberg; art by Jim Cheung, Mark Morales and others; Marvel.

I’ll be honest. I don’t have the slightest clue what the hell is going on in this book. No idea whatsoever. None of it really makes any sense to me and the only reason I keep buying it is that I’m hoping at some point we’ll see Billy and Teddy making out. Seriously, they better fucking kiss on panel in the last issue, or I will be pissed.

I DON’T KNOW

One-paragraph reviews: Flash, Red Robin, Magus, Starborn

Flash #9
Written by Geoff Johns; art by Francis Manapul; DC

It's so good to have Francis Manapul back on this title. Scott Kolins's two-issue interlude was good, but Manapul's art just blows my mind. I know his style is not to everyone's liking, and some people feel that it's wrong for this particular book, but I coudln't disagree more. I love his clean layouts, the beautiful painted textures, the character's faces, the look of the city. There's always a strong sense that we are in a clear, distinct place, whether it's a random crime scene in a parking garage, or the park where Barry Allen's family is having a picnic, or the crime lab where he works. As for the story, this is like the introduction to the prelude to this summer's big event, "Flashpoint." It sets things up nicely, without any big surprises for anyone who's been paying attention to the hype around the event that's coming. I'm still not sure whether I'm onboard for this mega-event or not, but so far I've been very pleased with what Geoff Johns has been doing with this book.

GOOD

Starborn #3
Written by Chris Roberson; art by Khary Randolph; Boom

This continues to be my favourite of the three new Stan Lee comics from Boom Studios. I read a review somewhere that complained about how slow this issue was, but the pacing seems spot-on to me. Certainly easier to take in than the frenetic chaos of The Traveler. Considering we're only three issues in and the protagonist has gone from an aspiring writer with a boring office job to a hero with high-tech weapons apparently being attacked by several difference alien races simultaneously, I think there's plenty going on. There's one part I thought was really clever in this issue, where he's learning how to use a weapon that is controlled by his mind. He's instructed to visualize a blue sphere inside a glass pyramid, which initiates the weapon, and then to picture the sphere turning red, which triggers it. It's really weird and abstract, and yet you can sort of see how it might actually work. I hope we'll eventually learn more about this mental visual interface, because it's kind of fascinating. The only thing I'm not a very big fan of in this series is the colouring by Mitch Gerads. It's way too dark and the colours seem oversaturated, though the problem might be with the printing.

GOOD

Magus #2
Written by Jon Price; art by Rebekah Isaacs; 12-Gauge

I'm mostly getting this for Rebekah Isaacs' art, which I think is very, very good. The premise, in a nutshell, is that magic is returning to the world, causing a lot of chaos. There's nothing particularly remarkable about the story so far and the characters seem a little bit flat. The problem is that there wasn't really any setting up. Before the end of the first issue, these characters, whom we'd just met, had their whole lives turned upside down. There's a lot happening in several locations with characters that individually have very little total on-panel time, so I feel like all we're getting is a very superficial look at these events. Still, it is a cool premise and I'm curious to know where it's going to go. I've seen conflicting information about whether this is just a mini-series or the start of an ongoing. I hope it's an ongoing because I don't think this will be satisfying as a limited series, but with more time to establish the characters and the world they live in, it could develop into something very good. Especially with such gorgeous, top-notch art.

OKAY

Red Robin #20
Written by Fabian Nicieza; art by Marcus To and Ray McCarthy; DC

Something about this book keeps getting on my nerves, and I'm having a really hard time figuring out exactly what it is. Maybe I'm just not a fan of Fabian Nicieza's writing style. It relies too much on narration. I think he expression "show, don't tell" is often an oversimplification that gets abused a little, but in this case I think it might apply. I just get the impression that we're constantly in Tim's head and he's explaining everything to us, and it doesn't help that what he's explaining is really convoluted and barely makes any sense half the time. Like, what exactly is Catman doing in this comic? Did the Russian mobster hire him, or was it the Calculator? And to do what, exactly? The issue then derails into a crossover with the Teen Titans, which was actually kind of nice. Tim reuniting with the gang and bossing everyone around. And Nicieza has a much better handle on Damian's character and voice than Krul does (in Teen Titans). Marcus To's art remains solid.

OKAY

Quick Reviews: Teen Titans, The Flash, Action Comics

Teen Titans #90

(Written by JT Krul; art by Nicola Scott; DC Comics)

Last month I was so pissed off at the way J.T. Krul had written Damian Wayne completely out of character in TT #89 that I not only decided to immediately drop this title from my pull list, but I even vowed never to spend another dime on a comic written by Krul. And yet, as the release of this new issue drew closer, I realized that I wanted to keep reading. Why give this book another chance? First, because I do think that for the most part Krul has found the right tone for this book. Aside from his blatant mishandling of Damian, he seems to have a good handle on the characters and the relationships between them. Second, I'm also really enjoying Nicola Scott's art. And third, I try not to be a stickler when it comes continuity between titles in a shared universe. I always say that each writer's take on a character is a possible interpretation, and that all these different versions can co-exist and contradict each other, and this is part of what ultimately makes the characters compelling and multi-layered. So never mind that this is not the Damian Wayne I've been reading in the pages of Grant Morrison's Batman for the past year or so. I'll keep an open mind and let Krul play with him.

I'm glad I decided to get over my initial fan rage, because this really is not a bad book. In fact, it's a pretty good one. I still think Krul's characterization of Damian is a bit of a caricature, but it was toned down a little in this issue, and Damian's budding friendship with Rose is something I can definitely get behind. We also got a couple more pages of Kiran, a Hindi girl who I'm guessing will join the Titans in a few more issues. So far her appearances are nothing more than teasers, with no obvious connection to the main story, but my curiosity has been piqued.

The Flash #8

(Written by Geoff Johns; art by Scott Kolins; DC Comics)

Like the last issue, this is another "filler" with art by Scott Kolins, giving main artist Francis Manapul a breather before the next big storyline gets started. Last time we got the secret origins of Captain Boomerang in a series of flashbacks, as he broke his way into prison to free the Reverse Flash. This time we go back to the future as the Reverse Flash zips through time, retconning his own history in the process. It's cleverly structured, with the Reverse Flash gradually removes every obstacle from his life until he gets it right, almost à la Groundhog Day. Kolins' art is very good, making this a cut above your usual filler issue, although I find his style is a little too caricature-like for my taste.  I'm looking forward to the return of Francis Manapul next month.

Action Comics #896

(Written by Paul Cornell; art by Pete Woods; DC Comics)

Greg Burgas, over at Comics Should Be Good, didn't really enjoy this comic. And who can blame him? He was coming at it as a regular reader of Secret Six, since for some unfathomable reason, the editors at DC thought it would be a good idea to turn their guest appearance in this issue of Action into a mini-crossover. (This issue ends with a "To be concluded in Secret Six #29!") The problem, of course, is that this issue is also part seven of "The Black Ring," the long story arc starring Lex Luthor that Paul Cornell has been writing for about half a year now. So any Secret Six reader who gets suckered into buying this issue because it ties into the series they're reading are of course going to be completely lost, as Greg's review demonstrates.

So what's the point of this crossover? Nobody is going to pick up this issue and get hooked. So at best, it might temporarily boost sales for one issue, but at what cost? Pissing off the fans of both series who get suckered into it? Fucking things up for the collected edition of this story, which is now presumably going to have a gaping hole in the narrative, unless they include the Secret Six issue in the trade, in which case it'll probably stick out like a sore thumb. So who does this really benefit?

This just seems like yet another example of the shortsightedness of DC editors. They have a really good thing going in Action Comics right now. Paul Cornell's run has been thoroughly entertaining and relatively self-contained up to this point. By all accounts, Gail Simone's Secret Six is just as good if not better. (The only reason I'm not picking it up is that I missed the boat on it and I want to read it from the beginning, so I'm planning to pick up the trades at some point instead.) If the editors of both series were at all concerned about quality, artistic integrity and how these stories are going to read in their collected formats (which have a much longer shelf-life than the single issues), they would just leave them the hell alone instead of imposing this pointless crossover.

Anyway. Within the context of "The Black Ring," this was a great issue. Not only was it laugh-out-loud funny in a number of places, but it also included a few important clues as to what is really going on in this story and who is pulling strings behind the scene. As I suspected from the beginning, robot Lois Lane has a hidden agenda, although exactly who she's working for isn't clear yet. We also get evidence that whoever Mister Mind was working for in the first couple of issues is still around and that this is not the same person robo-Lois is working for. I've been reading the solicits for the upcoming issues and I have to say I'm really excited about where this is all headed.

Now I'm left with the question: Do I pick up the tie-in issue of Secret Six, or will I be able to follow the story if I just stick to Action?

For whatever reason, I haven't been reading the Jimmy Olsen back-up, although I've hear nothing but positive comments about Nick Spencer's story and R.B. Silva's art looks great. Now that it's all going to be reprinted/concluded in the Jimmy Olsen one-shot, I might as well wait until then and read it all in one sitting.

Quick Reviews: Superboy, Starborn, Northlanders, Hellblazer, Flash, Red Robin

Superboy #2

So apparently a lot of people don't like this art. I think it’s all right. The colouring’s really awesome, though. As for the story, I’m enjoying it also. I’m surprised that the purple mind-controlled frogs showed up so quickly, though. I thought Lemire was going to save those for later. Anyway, the point is, I think this is a good book and I really want people to give it a chance. Jeff Lemire is a brilliant storyteller and I’m fascinated by the way some visual motifs are already starting to find their way in the book, despite the fact that he’s not drawing it himself. I really wish I could read his script and find out how much direction he gives the artist. Those last few pages with the teaser for what’s coming up are creepy.

Starborn #1

I appear the be the only person I know who is reading these new Stan Lee books. It’s kind of astonishing. You’d think that a bunch of new characters by arguably the most important comic book creator of our generation would attract a bit more attention.

Anyway, the other two (Soldier Zero and The Traveler) both had interesting elements but didn’t really click with me. I think this is the best of the three so far. It certainly has the best art (by Khary Randolph, whom I’d never heard of before). Or, maybe not necessarily the best, but just the one that appeals to me the most, stylistically. The story is intriguing, based on interesting concepts, and not as confusing as the first issue of The Traveler was. Chris Roberson wrote the script and did a pretty good job. If I only end up following one of the three new series, this might be the one I decide to stick around with.

Northlanders #35

The first issue of a two-part story called “The Girl in the Ice” is beautifully drawn by Becky Cloonan. And Brian Wood is a really amazing writer. I need to check out more of his work. (I want to read DMZ, I think.) If super-hero comics are like big Hollywoood action blockbusters, then this series is like a really good European art film. Quiet, subtle, beautiful, restrained, a little stark. But not pretentious. I love it.

John Constantine: Hellblazer: City of Demons #5 (of 5)

Oh, my God. This issue, which is the last of the mini-series, has two climaxes. And while they’re both pretty good, it’s the first one that really blew my mind, with all its tentacular goodness. Constantine is such a badass! I absolutely loved this series. Writing and art both fantastic. Now I want to read more Hellblazer, but I’m almost afraid it’s not gonna be as good as this. Anyway, I hope somebody else out there read this. If you did, let me know what you thought of it.

The Flash #7

Okay, I usually don’t like it when books get fill-in artists, but when it’s Scott Kolins, I don’t mind! Francis Manapul’s art is so beautiful, I’d forgotten that Kolins’ was almost equally formidable. (I can’t believe I just used that word.)

I think the Rogues are incredibly silly, but I’m sort of learning to just accept that as part of their charm. This issue is all about Captain Boomerang, a character I actually don’t know that much about, so it was interesting to get his back story. And it looks like the next issue (coming out in just two weeks) is gonna be pretty good, too. Reverse Flash is kind of scary.

The only thing I didn’t really about this is the same thing I don’t really like about all the other Brightest Day books - i.e., the tie-in elements to Brightest Day. I just don’t care, and none of it really makes any sense to me. I wish this could just be a book about The Flash and his rogues and tell its own story instead of plugging that annoying crossover event that’s never going to end.

Red Robin #18

I was kind of avoiding this one, because I said this would be a rant-free evening and I knew this book was going to make me want to rant, but I read it anyway. And, really, I don’t have much to say about it, except that it nearly bored me to tears. I don’t even have anything to complain about anymore. I’m just bored by this story. And Tim Drake’s incessant internal monologue is annoying. I think I’m starting to dislike his character, which is a pretty good sign that I should stop reading this series before I completely forget what I used to love about him.

Sorry, Marcus To. I love your art and you’re an awesome dude and I wish you a lot of success. But I don’t think I’m going to be reading this book anymore. I guess I’m just not a fan of FabNic. I wish Chris Yost had never left.

Review: The Flash #5

(This review was originally posted on September 30 at Population GO.)

THE FLASH #5 "The Dastardly Death of the Rogues - Part Four"
Written by Geoff Johns; art by Francis Manapul.

When the new volume of The Flash launched about four months ago, I wasn’t quite convinced that I would enjoy it much. I’ve never been a huge fan of the Flash to begin with, and I’d read some very negative comments about Geoff Johns’ Flash Rebirth mini-series, in which he resurrected the Silver Age Flash, Barry Allen, and set him up to star in this new ongoing series. I decided to give it a shot out of curiosity and because reading a new series from #1 is always more appealing than trying to jump on in the middle of a run, but I was half expecting to drop it from my pull list after a couple of issues. To my surprise, the book was an instant hit for me. And #5 is another issue in a series that consistently feels fresh and exciting.

This is in no small part due to Francis Manapul’s magnificent art and Brian Buccellato’s stellar colouring. These two are a match made in heaven, and every month they make this book look amazing, elevating Geoff Johns’ material to truly inspired levels. This latest issue is no exception. Every page is a pleasure to look at, including the trippy, psychedelic splash page shown at the top of this review. (That’s the unlettered version from Francis Manapul’s Deviant Art profile, which you should really have a look at if you’re a fan of beautiful comic art.)

From the story angle, this issue is also pretty fantastic. The fight between the Rogues and the Renegades (who are mirror versions of them from the future), with Flash caught in between, continues, and we start to get some answers to the questions that have been raised in previous issues. There’s a pretty big twist in the last few pages that seriously alters everything we thought we knew about what exactly is going on here. I’m not going to spoil it, but let’s just say I’m excited to find out what happens next. 

The only minor quibble I have with the issue is about the jarring scene that ties into Brightest Day. It’s very clumsy and serves no real purpose other than to justify the banner that’s been appearing at the top of the cover each month since #1. There’s a similarly out-of-place scene in last week’s Birds of Prey, and I’m assuming the same thing happens once in a while in the other titles tied to the event. If you’re not following Brightest Day, you’ll probably be left scratching your head wondering what that was all about. My advice is to just pretend it didn’t happen and continue reading.

Awkward crossover bleed aside, this is another great issue of one of DC’s best current ongoing titles. Recommended.

Review: The Flash #3

THE FLASH #3 "The Dastardly Death of the Rogues, part 3"
Written by Geoff Johns; art by Francis Manapul.

Francis Manapul continues to blow my mind with his art and is seriously turning into one of my favourite artists. One of the reasons I really like his work on this series is all the background action and characterization that is constantly happening around the main story. During the fight scenes, almost every panel shows some "extras" running for cover or snapping quick pictures with their camera phones. Particularly impressive was the coffee shop scene, which as far as the story is concerned consists of Barry and Iris sitting at a table and having a conversation for four pages. But while this is happening, the background is filled with customers waiting in line to place their orders, students working on their laptops, people on the street outside getting into cabs. There's even some continuity involved, like with the man who finishes reading his paper, gets up and leaves, as another woman quickly takes the free table. Some people might find this distracting (like this reviewer who complains that Manapul "switches camera angles" too often), but to me it just adds to the sense that Central City is a real place inhabited by real people.

As far as the story goes, Geoff Johns is taking his time. Three issues in and the future cops are still trying to arrest Barry for the murder he hasn't committed yet, and it doesn't really seem like we're much closer to figuring out exactly what their deal is, although we are thrown cryptic hints here and there. The much more exciting plot development, though, is Captain Boomerang's escape from prison and the revelation that since coming back to life in Blackest Night, he now has the ability to "manifest black construct boomerangs in times of duress," all of which makes him pretty badass.

There's a humourous two-page extra at the end called "Flashfacts," which gives us a history of the boomerang, followed by an explanation of Captain Boomerang's powers. I found the second part of it actually quite useful, as someone who hasn't read Blackest Night and who isn't all that familiar with the character. Scott Kolins handles the art on this section. I hope this will be a recurring feature.

Overall, this was another good issue and I'm still enjoying this series a lot.

Quick reviews and previews

I haven't been doing a very good job of posting regular reviews of the comics I've read the past few weeks, so here's a catch-all update with quick reviews of a few recent issues. I'm going to save Return of Bruce Wayne #2 for a longer reviews, to be posted later this week.

BIRDS OF PREY #1

A good start to the series, if not exactly the mind-blowing first issue I was hoping for. Gail Simone starts putting all the pieces in place for her first story arc and does so competently. The in-story excuse for reuniting the team is refreshingly straightforward. Throwing Hawk and Dove into the mix feels a bit forced to me, and I suspect it was editorially mandated so the book could tie in to all the Brightest Day nonsense. Be that as it may, they only appeared in a few pages in this issue, so it's too early to judge whether they are going to fit in nicely with the rest of the team. The issue ends with a mystery villain, which is always fun. Looking forward to #2.

THE FLASH #2

Still really enjoying Francis Manapul's art and the lighter tone of this book. Let's hope that tone doesn't take a turn for the dark too soon, but with Geoff Johns writing and the connection to the apparently ironically titled Brightest Day, I wouldn't be surprised if it did. I think I remember reading some rather baffling complaints from fans who thought "nothing happened" in this issue. I'll never understand how these people's minds work. I was pretty skeptical about this title when I added it to my pull list, but so far I'm enjoying it more than I expected and have no real complaints.

THE LEGION OF SUPER-HEROES #1

I've never read any Legion stories before, so being introduced to so many characters and a completely different setting (i.e., the 31st century) all at once is a bit overwhelming. But not to the extent that I was completely lose or unable to follow the story. Again, this is a #1 issue, so I don't have a whole lot to say about it other than it sets things up nicely and now I'm looking forward to seeing where it's going to go.

THE SPIRIT #2

Hated it even more than the first issue! Wow, that art is ugly. In the first issue, I thought it was awkward in a few places. Here, it's just unpleasant throughout. The writing is just as bad. I'm really sorry that I committed to buying the first three issues before the series started. But thankfully there's only one more to go. I read a lot of comments about how the short black-and-white back-up stories are worth the price of admission alone, but I beg to differ. While I agree the back-up is the best thing about this issue, it's still just a back-up, and it's not strong enough to justify spending 4$ on. Not by a long shot.

DC LEGACIES #1

I was very much on the fence about this mini-series, which is supposed to tell the history of the DC universe from the Golden Age to the present. I decided to give it a shot mostly because I thought the art was nice. It opens with a lame framing device where some old guy is sitting in a rocking chair, drinking a cup of joe and talking directly at the reader, before we flashback to his childhood and he recounts his encounters with the first super-heroes. I thought this was extremely cheesy and unnecessary. The rest of the book is okay, but since we're getting the story from the perspective of these kids, we don't really get much insight into the "mystery men," who are of course the characters everyone is reading the book to find out more about. The issue ends somewhere around the time of the formation of the Justice Society of America, and by the time I got to the backup story, I had already pretty much lost interest. I don't think I'm going to pick up #2.

WHAT I'M PICKING UP THIS WEEK...

Definitely getting Sweet Tooth #10 and Red Robin #13. I enjoyed the last arc of Chris Yost's run on Red Robin. Now Fabian Nicieza is taking over and I'm looking forward to what he's going to do with the title. Tim Drake is still possibly my favourite character in the DC universe. My only complaint is that the Red Robin costume covers up too much of his head and makes him look like a second-rate Batman without the pointy ears. Tim Drake has awesome hair, and they shouldn't cover it up with that ugly cowl.

I may or may not pick up the first issue of Red Hood: The Lost Days. I am interested, but I might just decide to wait for the trade on that one. Same thing with the series of Joker's Asylum one-shots.

Last but not least, there's an original graphic novel called A God Somewhere coming out on Wildstorm that looks really good. There's a short preview here.

Review: The Flash #1

THE FLASH #1
Written by Geoff Johns; art by Francis Manapul

I have to confess that I've never really cared much about The Flash as a character. I'm pretty indifferent in the whole Wally West versus Barry Allen debate. My favourite speedster is probably Bart Allen, which may simply be because he's the only one I'm really familiar with, from having followed him in Teen Titans. Last week's Secret Files and Origins didn't do much to whet my appetite for this relaunch, so I picked up this issue almost reluctantly, half expecting to be bored with it.

The good news is that it was better than I expected. First, the art is really quite nice, as is the colouring, which establishes a nice contrast between warm sunset-like palette used for the exterior scenes in the city, and the colder purplish tones of the crime lab where Barry Allen works.

Although the story itself doesn't advance much in this first issue, it sets up all the major characters and relationships effectively. First, there's Barry and his wife Iris. They barely spend any time together in the issue, but Geoff Johns cleverly establishes a rapport between them with through the text messages they send each other throughout the story. Then there's Barry's coworkers at the forensics lab. We only meet a few of them briefly, but it looks like they're all going to be fleshed out over the course of the series.

And this is where I think The Flash has the potential to offer something really different from any other super-hero comic in the DC universe right now. I really hope that rather than just focusing on his adventures as The Flash, Johns will also give us some good police procedural type of action. I was immediately reminded of The Wire when the issue of department stats came up and how City Hall is pushing to have cases solved quickly. The Wire is my favourite TV series of all time, so Johns can rip it off as much as he wants and I'll eat it all up.

Another thing that reminded me of The Wire was the way that Central City (like Baltimore in the TV series) is being established almost as a character itself. It seems that a lot of effort went into painting a living portrait of "the city that's always on the run," both in terms of the art and the story.

As for the plot, we haven't really been given enough of it yet for me to have anything to say about it. Some kind of murder mystery with a time travel/Minority Report kinda twist. We'll see where it goes in the next issue.

Reviews: Batman and Robin #11, Flash: Secret Files and Origins 2010

(These reviews contain spoilers.)

BATMAN AND ROBIN #11
Written by Grant Morrison; pencils by Andy Clarke; inks by Scott Hanna

I have a bit of a disadvantage when it comes to Grant Morrison's Batman and Robin, because I haven't read any of his Batman stories leading up to it, nor have I read a lot of stories (from other writers) featuring some of the key players, like Talia and Hurt. So I was a bit lost when I first read the opening scene of this new issue, which is the big reveal that the villain known as "El Penitente" is in fact Hurt, but after doing a bit of research online, the pieces are starting to fall into place. And things are getting really interesting. I'm looking forward to finding out where this is all headed.

I've enjoyed the series so far for the most part, although it can be a bit hit-and-miss at times. The first story arc was great, due in no small part to Frank Quitely's fantastic interior art, but the second and third arcs weren't quite as exciting, although they each had enough good moments to keep me reading. What I've been enjoying the most is the characterization of Damian. I'm a pretty big fan of all the Robins, and I think Damian is a remarkably well written and original addition to the lineage. His relationship with Dick and how it is evolving from a kind of insubordinate rivalry to growing respect and affection is great. And it wasn't really until issue #10 that this really started to pay off – with probably my favourite scene in the series so far, where Damian worries about whether he'll be able to continue as Robin once Bruce Wayne has returned. It was really sweet to see just how much this means to him, and it made the "betrayal" that followed all the more powerful.

In some ways, issue #11 is just the logical continuation of what was set into motion earlier, so there weren't any big revelations or moments that had the same kind of impact those last few pages of #10 did. Dick follows the clues in Wayne Manor a little further, discovering more hidden rooms, a statue of a bat demon, and a railway that leads back to the cemetery, where Damian and Sexton are fighting against the 99 fiends. The revelation that Talia's "executioner" is Deathstroke just kinda made me go, "M'eh." I don't really see what the big deal is whether it's him or Talia herself remote-controlling Damian to get at Batman. I think the best scenes were the ones where Damian questioned Sexton about his identity – although no answers are given, they hint at the big revelation coming next month when Sexton will finally remove his mask (as shown in the preview at the end of this book).

I'm willing to bet that this big reveal is going to coincide with the first issue of The Return of Bruce Wayne miniseries is no accident. Very exciting!

This arc also features the best art (care of Andy Clarke) in the series since Quitely's arc.

*

THE FLASH: SECRET FILES AND ORIGINS 2010
Written by Geoff Johns; art by Scott Kolins and Francis Manapul


I also picked up The Flash: Secret Files and Origins today. I've decided to take my chance with the new Flash series, which starts next week, so I figured this would be a good way to ease into it, since I haven't read Flash Rebirth. The preview on the DC blog made it seem like it would focus on Barry Allen's childhood, which I thought would be interesting.

For a $4 book, I have to say this was a huge disappointment. The story itself is only 17 pages and, aside from a few brief flashbacks to Barry's childhood, basically consist of him getting up in the middle of the night, making his way to the house he grew up in (where his mother was murdered when he was 11), meeting up with all the other speedsters in the DC universe who also felt drawn to that place due to their connection to the Speed Force – and the going back to bed. Nothing really happens. Then there's a brief epilogue that shows the rogues about to do something but the story ends before they do it.

The other 19 pages of the book (not counting advertisement) consist of a bunch of fact sheets with information on the different characters and concepts that will play a role in the series. Most of it is information I was either already familiar with or could have easily looked up on Wikipedia.

Seriously, if this book wasn't meant to be more than an advertisement for the upcoming series, it should have been much cheaper. The art was also pretty unremarkable (it's better in the character bios than in the story itself) and the writing seemed uninspired. I really hope Geoff Johns has something better planned for the ongoing series, or I'm going to be dropping it really fast.