The Walking Dead tpb Vol. 17 "Something To Fear"
Image Comics
Robert Kirkman, writer
Charlie Adlard and Cliff Rathburn, artists
This volume of the collected Walking Dead includes the much-hyped issue No. 100 of the series, and it is VERY aptly named.
It wasn't so much that a major character died -- something we haven't seen in a little while now, and I guess I'd grown somewhat complacent in that regard -- but more the manner in which the character died that was so shocking and had so many people at the time talking. I don't want to give too much away, but I also understand now why so many followers of the spin-off "Walking Dead" television series were so certain that a particular major character was going to die a month or so ago in the series. *shudder*
When last we left our roving band of survivors, they were dealing with some stuff. Most of the core group was still intact and several of the new faces were also still alive, but the walled community they were living in was still in need of repairs following a breach that allowed several zombies in. In the midst of the repair work, a newcomer came to the town speaking of another settlement of survivors, the largest one yet Rick Grimes and his group had seen. The newcomer spoke of the large Hilltop settlement in glowing terms and led Rick and a small scouting party back with him to check things out. Once there, things weren't as perfect as Rick and Co. had been led to believe, but Rick still saw potential in joining with this new settlement.
This volume picks up as Rick's small group heads back to their own community. They meet resistance along the way. Four armed men on motorcycles block the road and provoke a confrontation. It seems the folks of Hilltop are paying "protection" to this gang, and Rick has bartered his group's services to eliminate the threat in exchange for an alliance with Hilltop. Rick has Glenn, Andrea, and Michonne with him, and they make short work of the four bikers, thinking they have made some real inroads into removing the threat the gang poses.
Rick's group returns to their community, but the next day, the community is attacked by maybe a dozen or so members of the gang who have followed them "home." Again, Rick's crew dispatches the attackers with only a few injuries and one casualty. But Rick knows that the gang will likely be back. He opts to take a small group back to Hilltop as quickly as possible for reinforcements and supplies before the next attack comes. His group does not make it all of the way to Hilltop before they are stopped by the gang of unsavory individuals, many, many more than can be easily counted. This gang is much, much larger than Rick ever suspected, and it is made up of people who make the Governor and the town of Woodbury seem quaint by comparison. Rick's group, indeed, has something to fear besides the continuing threat the zombies pose.
Sunday, March 31, 2013
Friday, March 29, 2013
Part of the Pack
Fables: Werewolves of the Heartland hardcover
DC Vertigo
Bill Willingham, writer
Craig Hamilton, Jim Fern, Ray Snyder and Mark Farmer, artists
***mature content warning***
I am a big fan of Bigby Wolf, one of the principal characters of Bill Willingham's Fables universe. When introduced to the series in the first issue, he was the constable and an often strategist for the Fable folk in exile in New York City. Since then, the former Big Bad Wolf of legend has married Snow White and fathered a litter of cubs. Once that blessed event happened, Bigby stepped down as constable in favor of living with his family. Based on stuff I've read online, I'm not that unique in being a fan of Bigby; he's a very popular character in the series. But I like him in spite of his apparent popularity.
I've always liked wolves. They are noble, beautiful creatures; what's not to like. My appreciation of wolves extends to the monster genre. I like many kinds of monsters, but especially werewolves. Let everyone else swoon over vampires and swarm around zombies; I'll take the alpha monsters, werewolves! Bigby wraps both of these things up into one, with even more thrown in. He's also the seventh son of the North Wind, hence his ability to blow pigs' houses in.
But enough preamble. Let's get to this awesome book.
It features Bigby in a solo adventure, so naturally I wanted to order it as soon as it was solicited. But this isn't just a stand-alone Bigby story; I should have known better than that with Willingham's ability to constantly expand on the universe he has created for these characters. If you are new to the Fables universe, this can certainly work as a self-contained tale. All you really need to know is right there between these beautifully illustrated covers. But if you are a longtime Fables fan, this story builds upon the events from way back in Fables Nos. 28 and 29 from almost 10 years ago.
In those two issues, we learned that Bigby had taken part in the fighting of World War II. The Fables characters, magical beings, don't have traditional lifespans, and Fabletown has existed in New York City for decades. Bigby took a leave of absence in the late 1940s in order to combat the Nazi threat on his own terms. His position as constable of Fabletown includes policing but also protecting the Fable folk, he explains. Anyway, a very fun solo Bigby adventure was told in the pages of these two Fables issues.
This hardcover one-shot tells a current tale, but builds upon those WWII adventures depicted in Fables Nos. 28 and 29. Bigby is again on the road by himself doing work on behalf of Fabletown. This is an extended mission involving exploring regions of the United States. Bigby comes across a town by the name of Story City. That name alone might be enough to make him curious, but add to the city's name the fact that the entire population of the town are werewolves who all seem to know Bigby already. Those are the makings of a mystery. And this book is an excellent one!
DC Vertigo
Bill Willingham, writer
Craig Hamilton, Jim Fern, Ray Snyder and Mark Farmer, artists
***mature content warning***
I am a big fan of Bigby Wolf, one of the principal characters of Bill Willingham's Fables universe. When introduced to the series in the first issue, he was the constable and an often strategist for the Fable folk in exile in New York City. Since then, the former Big Bad Wolf of legend has married Snow White and fathered a litter of cubs. Once that blessed event happened, Bigby stepped down as constable in favor of living with his family. Based on stuff I've read online, I'm not that unique in being a fan of Bigby; he's a very popular character in the series. But I like him in spite of his apparent popularity.
I've always liked wolves. They are noble, beautiful creatures; what's not to like. My appreciation of wolves extends to the monster genre. I like many kinds of monsters, but especially werewolves. Let everyone else swoon over vampires and swarm around zombies; I'll take the alpha monsters, werewolves! Bigby wraps both of these things up into one, with even more thrown in. He's also the seventh son of the North Wind, hence his ability to blow pigs' houses in.
But enough preamble. Let's get to this awesome book.
It features Bigby in a solo adventure, so naturally I wanted to order it as soon as it was solicited. But this isn't just a stand-alone Bigby story; I should have known better than that with Willingham's ability to constantly expand on the universe he has created for these characters. If you are new to the Fables universe, this can certainly work as a self-contained tale. All you really need to know is right there between these beautifully illustrated covers. But if you are a longtime Fables fan, this story builds upon the events from way back in Fables Nos. 28 and 29 from almost 10 years ago.
In those two issues, we learned that Bigby had taken part in the fighting of World War II. The Fables characters, magical beings, don't have traditional lifespans, and Fabletown has existed in New York City for decades. Bigby took a leave of absence in the late 1940s in order to combat the Nazi threat on his own terms. His position as constable of Fabletown includes policing but also protecting the Fable folk, he explains. Anyway, a very fun solo Bigby adventure was told in the pages of these two Fables issues.
This hardcover one-shot tells a current tale, but builds upon those WWII adventures depicted in Fables Nos. 28 and 29. Bigby is again on the road by himself doing work on behalf of Fabletown. This is an extended mission involving exploring regions of the United States. Bigby comes across a town by the name of Story City. That name alone might be enough to make him curious, but add to the city's name the fact that the entire population of the town are werewolves who all seem to know Bigby already. Those are the makings of a mystery. And this book is an excellent one!
Tuesday, March 26, 2013
The Worst Of Messes Often DO Become Successes
Walt Disney's Donald Duck: "A Christmas For Shacktown" by Carl Barks hardcover
Fantagraphics Books
This is the second collection of Carl Barks' Disney Ducks tales featuring Donald. In many of the animated shorts starring Donald Duck, the character is known for his quick temper and his often self-defeating mannerisms. The same can be said for many of the one-page gag strips included in this collection. But Donald's personality is more malleable in the longer "book-length" adventures, depending on other characters and the needs of the story. Yet Barks is still able to make this Donald seem just as genuine as the often agitated video version.
The title story in this volume, as many of the stories included herein, centers around the season of Christmas. Huey, Dewey and Louie take a shortcut home from school through the poor neighborhoods of Duckburg and begin to feel sorry for the young inhabitants of Shacktown who have never known the joys of Christmas. The three younger ducks enlist the aid of their Junior Woodchucks friends, as well as Daisy, Donald and even miserly Uncle Scrooge, to help bring presents to the children of Shacktown. Other stories in this volume include the first-ever appearance of Scrooge McDuck's famous Money Bin; several tales centering on the unerring good fortunes of Donald's lucky cousin, Gladstone Gander; Donald trying to teach his young nephews a lesson, often ending up more the pupil than Huey, Dewey and Louie are; and a race to find a golden viking helmet which will leave the bearer wealthy and powerful. All of this and much more can be found in this second Donald Duck treasury.
Find a copy and enjoy it!
Fantagraphics Books
This is the second collection of Carl Barks' Disney Ducks tales featuring Donald. In many of the animated shorts starring Donald Duck, the character is known for his quick temper and his often self-defeating mannerisms. The same can be said for many of the one-page gag strips included in this collection. But Donald's personality is more malleable in the longer "book-length" adventures, depending on other characters and the needs of the story. Yet Barks is still able to make this Donald seem just as genuine as the often agitated video version.
The title story in this volume, as many of the stories included herein, centers around the season of Christmas. Huey, Dewey and Louie take a shortcut home from school through the poor neighborhoods of Duckburg and begin to feel sorry for the young inhabitants of Shacktown who have never known the joys of Christmas. The three younger ducks enlist the aid of their Junior Woodchucks friends, as well as Daisy, Donald and even miserly Uncle Scrooge, to help bring presents to the children of Shacktown. Other stories in this volume include the first-ever appearance of Scrooge McDuck's famous Money Bin; several tales centering on the unerring good fortunes of Donald's lucky cousin, Gladstone Gander; Donald trying to teach his young nephews a lesson, often ending up more the pupil than Huey, Dewey and Louie are; and a race to find a golden viking helmet which will leave the bearer wealthy and powerful. All of this and much more can be found in this second Donald Duck treasury.
Find a copy and enjoy it!
Sunday, March 24, 2013
Fun But A Little Disappointing
Doom's Day trilogy
Boulevard Books
Spider-Man and the Incredible Hulk: Rampage by Fanny Fingeroth and Eric Fein
Spider-Man and Iron Man: Sabotage by Pierce Askegren and Danny Fingeroth
Spider-Man and the Fantastic Four: Wreckage by Eric Fein and Pierce Askegren
Steven Butler, illustrations
I don't read just comic books; I read quite a bit of prose, as well. So I'm usually excited to see characters I enjoy from the comics featured in prose novels -- as long as they are well written. Roger Stern did a nice job adapting the comic storyline into the novel "The Death and Life of Superman," and the book was a joy to read. Peter David's novelization of the feature film "Batman Forever" is a lot better than the film was, especially in the scenes dealing with the origin of Robin. I've also picked up some anthologies that collect prose stories featuring Batman, Superman, Wonder Woman and Spider-Man that I have greatly enjoyed, largely, I think, because they were such short stories.
There were a number of novels released in the mid- to late-1990s featuring various Marvel Comics characters, and I was very happy to see them appear on bookstore shelves at the time. But now that I have actually had time to read some of them, they are a pretty mixed bunch. Spider-Man and the X-Men were the subjects of the lion's share of these books. Iron Man starred in two adventures, "The Armor Trap" and "Operation: A.I.M.," and I have to say both of those novels fell kind of flat for me.
These three books are a notch above the Iron Man solo novels. They include some genuinely fun moments and great characterization by some writers familiar to the comics field. In the first, a renegade scientist with ties to both Hydra and A.I.M., two Marvel terrorist organization mainstays, attempts to create controllable duplicates of the incredible Hulk in a secret base beneath Manhattan. He must first capture the real Hulk for study, and his actions later draw the attention of Spider-Man when Spidey's friend, Flash Thompson, is one of the poor lugs transformed into a gamma-irradiated beast. In the second novel, first Hydra and then A.I.M. try to take control of Tony Stark's latest invention, the Infinity Engine, which promises to provide a cheap, clean energy source for the world. The terrorist organizations' attempts to pervert Stark technology draw the attention of not only Spidey, but also Iron Man. Both of these novels also include characters from a government organization named S.A.F.E. I'm not sure if S.A.F.E. ever appeared in any actual Marvel Comics of the time, but in the novels, they are a U.S. organization created to stand in for S.H.I.E.L.D., which had taken on a more international role. As one might guess from the name of the trilogy, Victor von Doom, Dr. Doom, is also a background player in the first two novels. Finally, in the third novel, Dr. Doom takes center stage using technologies perfected in both of the previous two novels in his latest bid to conquer the world. This brings together Spider-Man and the Fantastic Four to challenge him.
As I said before, all three books have some great moments and some stellar action sequences. But all three also tend to bog down a bit when it comes to the background descriptions and motivational narration. Descriptions can help a reader imagine the scene, but overkill on descriptions can pull the reader out of the story. That tends to be the issue here sometimes. Other times the descriptions just get a little tedious and repetitive, dragging the story pacing down from what one might expect from an action/adventure type of story. One further criticism, directed solely at the third novel, is the layout of the book. I was surprised at first to see that the third novel is about 50 pages shorter than the previous two. That is, until I started trying to read the third novel and found out why. The page margins on the third paperback are much smaller than the first two novels, running right down to the bottom edge of the page, and quite far into the spine of the book, making it somewhat harder to hold and read comfortably. There also seemed to be a pretty large number of typos in these three books, but that is something more on the editing side of things.
All in all, if you enjoy these characters, these books are fun reads, but I wouldn't put them at the top of the stack. Marvel has recently announced that it plans more prose novels based on some of its more popular company-wide crossover storylines. The plan is to launch the series with a prose adaptation of its popular Civil War limited series from 2006; that novel was released last week. Hopefully, Marvel does a little better with this latest round of prose novels.
Boulevard Books
Spider-Man and the Incredible Hulk: Rampage by Fanny Fingeroth and Eric Fein
Spider-Man and Iron Man: Sabotage by Pierce Askegren and Danny Fingeroth
Spider-Man and the Fantastic Four: Wreckage by Eric Fein and Pierce Askegren
Steven Butler, illustrations
I don't read just comic books; I read quite a bit of prose, as well. So I'm usually excited to see characters I enjoy from the comics featured in prose novels -- as long as they are well written. Roger Stern did a nice job adapting the comic storyline into the novel "The Death and Life of Superman," and the book was a joy to read. Peter David's novelization of the feature film "Batman Forever" is a lot better than the film was, especially in the scenes dealing with the origin of Robin. I've also picked up some anthologies that collect prose stories featuring Batman, Superman, Wonder Woman and Spider-Man that I have greatly enjoyed, largely, I think, because they were such short stories.
There were a number of novels released in the mid- to late-1990s featuring various Marvel Comics characters, and I was very happy to see them appear on bookstore shelves at the time. But now that I have actually had time to read some of them, they are a pretty mixed bunch. Spider-Man and the X-Men were the subjects of the lion's share of these books. Iron Man starred in two adventures, "The Armor Trap" and "Operation: A.I.M.," and I have to say both of those novels fell kind of flat for me.
These three books are a notch above the Iron Man solo novels. They include some genuinely fun moments and great characterization by some writers familiar to the comics field. In the first, a renegade scientist with ties to both Hydra and A.I.M., two Marvel terrorist organization mainstays, attempts to create controllable duplicates of the incredible Hulk in a secret base beneath Manhattan. He must first capture the real Hulk for study, and his actions later draw the attention of Spider-Man when Spidey's friend, Flash Thompson, is one of the poor lugs transformed into a gamma-irradiated beast. In the second novel, first Hydra and then A.I.M. try to take control of Tony Stark's latest invention, the Infinity Engine, which promises to provide a cheap, clean energy source for the world. The terrorist organizations' attempts to pervert Stark technology draw the attention of not only Spidey, but also Iron Man. Both of these novels also include characters from a government organization named S.A.F.E. I'm not sure if S.A.F.E. ever appeared in any actual Marvel Comics of the time, but in the novels, they are a U.S. organization created to stand in for S.H.I.E.L.D., which had taken on a more international role. As one might guess from the name of the trilogy, Victor von Doom, Dr. Doom, is also a background player in the first two novels. Finally, in the third novel, Dr. Doom takes center stage using technologies perfected in both of the previous two novels in his latest bid to conquer the world. This brings together Spider-Man and the Fantastic Four to challenge him.
As I said before, all three books have some great moments and some stellar action sequences. But all three also tend to bog down a bit when it comes to the background descriptions and motivational narration. Descriptions can help a reader imagine the scene, but overkill on descriptions can pull the reader out of the story. That tends to be the issue here sometimes. Other times the descriptions just get a little tedious and repetitive, dragging the story pacing down from what one might expect from an action/adventure type of story. One further criticism, directed solely at the third novel, is the layout of the book. I was surprised at first to see that the third novel is about 50 pages shorter than the previous two. That is, until I started trying to read the third novel and found out why. The page margins on the third paperback are much smaller than the first two novels, running right down to the bottom edge of the page, and quite far into the spine of the book, making it somewhat harder to hold and read comfortably. There also seemed to be a pretty large number of typos in these three books, but that is something more on the editing side of things.
All in all, if you enjoy these characters, these books are fun reads, but I wouldn't put them at the top of the stack. Marvel has recently announced that it plans more prose novels based on some of its more popular company-wide crossover storylines. The plan is to launch the series with a prose adaptation of its popular Civil War limited series from 2006; that novel was released last week. Hopefully, Marvel does a little better with this latest round of prose novels.
Friday, March 22, 2013
Whetting Our Appetites A Bit More
Aquaman 14
DC Comics
Geoff Johns, writer
Pete Woods and Pere Perez, artists
This is the prologue to "Throne of Atlantis," the big Aquaman/Justice League crossover, but we go waaaaaaay back for our beginning. All the way back to 1820, where we see an Atlantean who looks a lot like Aquaman harpooned and captured by a sailing vessel's captain and crew. The captain of the ship taunts the wounded mer-man, describing how he had earlier captured and slain the Atlantean's mate. But the final, killing blow from the captain is interrupted by the arrival of many more Atlanteans.
From there we jump to the present day with a brief bit of detail about another Atlantean famous in the old DC Universe. The current king of Atlantis is sitting on his throne issuing his decision in the case of a young, purple-eyed boy named Garth, who has caused some fear among the more superstitious Atlanteans. In the old DCU, Garth was taken from his parents because of his purple eyes and legends that they were an evil omen. Garth's parents, lesser rulers in a kingdom of Atlantis, were killed and the child left to die alone. Instead, the young boy was found and raised by Aquaman. He grew to join Aquaman's adventures as Aqualad, helped found the original Teen Titans group, and later, like many of his original Titans peers, adopted a new identity as he neared adulthood, Tempest.
Here in the DCnU, the current king of Atlantis, Aquaman's half-brother, Orm, decrees that the child be returned to his mother, unharmed, and those who threatened him be held for trial. A small gathering of fish interrupts further court duties, bringing a message that Aquaman wishes to meet with Orm.
Next, we have a small interlude to check in on Black Manta, newly incarcerated at Belle Reve prison. Manta is offered a chance to have his sentence commuted by joining Amanda Waller's Suicide Squad, a team of former villains used in suicide missions in exchange for their eventual freedom, if they survive. Manta turns Waller's offer down by slaying one of the guards while still shackled and with one wrist and the other forearm in casts.
Much of the remainder of the issue is the meeting between Orm and Aquaman at the site of the sunken remains of the sailing vessel from the opening segment. It seems the mer-man captured in that segment was Arthur and Orm's great-grandfather. Both he and their great-grandmother were killed by the men of the vessel, and the ancient Atlanteans exacted a stiff revenge for those acts.
Aquaman asks Orm directly if he was in league with Black Manta's recent activities and if Orm is planning to attack the surface world. Orm denies both charges, but there is definitely something sinister in his bearing and the fact that he is almost always depicted in shadow. Obviously, more is afoot here.
DC Comics
Geoff Johns, writer
Pete Woods and Pere Perez, artists
This is the prologue to "Throne of Atlantis," the big Aquaman/Justice League crossover, but we go waaaaaaay back for our beginning. All the way back to 1820, where we see an Atlantean who looks a lot like Aquaman harpooned and captured by a sailing vessel's captain and crew. The captain of the ship taunts the wounded mer-man, describing how he had earlier captured and slain the Atlantean's mate. But the final, killing blow from the captain is interrupted by the arrival of many more Atlanteans.
From there we jump to the present day with a brief bit of detail about another Atlantean famous in the old DC Universe. The current king of Atlantis is sitting on his throne issuing his decision in the case of a young, purple-eyed boy named Garth, who has caused some fear among the more superstitious Atlanteans. In the old DCU, Garth was taken from his parents because of his purple eyes and legends that they were an evil omen. Garth's parents, lesser rulers in a kingdom of Atlantis, were killed and the child left to die alone. Instead, the young boy was found and raised by Aquaman. He grew to join Aquaman's adventures as Aqualad, helped found the original Teen Titans group, and later, like many of his original Titans peers, adopted a new identity as he neared adulthood, Tempest.
Here in the DCnU, the current king of Atlantis, Aquaman's half-brother, Orm, decrees that the child be returned to his mother, unharmed, and those who threatened him be held for trial. A small gathering of fish interrupts further court duties, bringing a message that Aquaman wishes to meet with Orm.
Next, we have a small interlude to check in on Black Manta, newly incarcerated at Belle Reve prison. Manta is offered a chance to have his sentence commuted by joining Amanda Waller's Suicide Squad, a team of former villains used in suicide missions in exchange for their eventual freedom, if they survive. Manta turns Waller's offer down by slaying one of the guards while still shackled and with one wrist and the other forearm in casts.
Much of the remainder of the issue is the meeting between Orm and Aquaman at the site of the sunken remains of the sailing vessel from the opening segment. It seems the mer-man captured in that segment was Arthur and Orm's great-grandfather. Both he and their great-grandmother were killed by the men of the vessel, and the ancient Atlanteans exacted a stiff revenge for those acts.
Aquaman asks Orm directly if he was in league with Black Manta's recent activities and if Orm is planning to attack the surface world. Orm denies both charges, but there is definitely something sinister in his bearing and the fact that he is almost always depicted in shadow. Obviously, more is afoot here.
Tuesday, March 19, 2013
She's Distracting Me!
Nightwing 14
DC Comics
Tom DeFalco, guest writer
Andres Guinaldo, guest artist
The regular creative team on Nightwing apparently decided to take a break before diving head first into the "Death of the Family" Bat-crossover, so we get this little diversion pitting Nightwing against the DCnU version of Lady Shiva. She's still a master assassin, Kiddie Cops, so don't worry about that. And despite their guest creator status, both DeFalco and Guinaldo do a nice job with this fill-in.
The Joker hasn't been forgotten; Nightwing makes mention of him several times in the issue, first letting readers know that he remembers Batman's alert about the Joker from Batman No. 13 and later wondering if Lady Shiva's activities have anything to do with the Joker's machinations. She IS an assassin for hire, so that could be, but DeFalco doesn't leave us wondering, giving full details by the end for the motivations behind Shiva's return to Gotham. And even Joker makes a small appearance in the issue, so all in all, not a bad effort, guys!
DC Comics
Tom DeFalco, guest writer
Andres Guinaldo, guest artist
The regular creative team on Nightwing apparently decided to take a break before diving head first into the "Death of the Family" Bat-crossover, so we get this little diversion pitting Nightwing against the DCnU version of Lady Shiva. She's still a master assassin, Kiddie Cops, so don't worry about that. And despite their guest creator status, both DeFalco and Guinaldo do a nice job with this fill-in.
The Joker hasn't been forgotten; Nightwing makes mention of him several times in the issue, first letting readers know that he remembers Batman's alert about the Joker from Batman No. 13 and later wondering if Lady Shiva's activities have anything to do with the Joker's machinations. She IS an assassin for hire, so that could be, but DeFalco doesn't leave us wondering, giving full details by the end for the motivations behind Shiva's return to Gotham. And even Joker makes a small appearance in the issue, so all in all, not a bad effort, guys!
Sunday, March 17, 2013
Oh, THOSE Are The Secrets
Justice League 14
DC Comics
Geoff Johns, writer
Tony S. Daniel, artist
I was a little disappointed with the last issue of Justice League; the art was nice, but the story didn't seem to hold much new. Having said that, though, I allowed that it was only the first half of a story.
This second half of "The Secret of the Cheetah" did not disappoint.
There really is a secret to the nature of the DCnU version of the Cheetah, one that is different from her previous incarnations, and that secret is revealed by the tribe of natives Cheetah is trying to slay while she is also fighting the Justice League. The secret isn't all that shocking, exactly, but it is different, as I said, and Johns handles the reveal in such a way that incorporates aspects of the past incarnations of the Cheetah character. That's always a nice touch.
We also begin to see some teamwork among the Leaguers in this issue. Superman was bitten by the Cheetah and transformed into a were-creature in the previous issue. Batman is concerned about his friend and needs Cyborg's help to restore the Man of Steel before Cheetah's bite kills him. Aquaman formulates a plan of attack for capturing Cheetah, and Batman willingly abdicates this chore to the Sea King, something the Dark Knight does not typically do with ease. Aquaman's plan makes use of both Wonder Woman's and the Flash's skills. Both teams are successful in achieving their goals. Nicely done, team!
Or maybe not. Unbeknownst to the Leaguers, Cheetah wanted to be captured. After she is left alone in her cell at Belle Reve Prison, she contacts someone we can neither see nor hear. She confirms that she is in place and will await the arrival of Black Manta, yet another secret.
However, there are more secrets in this issue than just the "Secret(s) of the Cheetah." At the end of the mission, Superman takes Wonder Woman to visit Smallville. The couple's "date" helps them both heal, recoup and get to know each other better. The issue ends with the pair's second kiss and the reveal that they are being spied on by someone.
I wish sometimes that Johns would get there faster, but this is becoming the team I want to read about.
DC Comics
Geoff Johns, writer
Tony S. Daniel, artist
I was a little disappointed with the last issue of Justice League; the art was nice, but the story didn't seem to hold much new. Having said that, though, I allowed that it was only the first half of a story.
This second half of "The Secret of the Cheetah" did not disappoint.
There really is a secret to the nature of the DCnU version of the Cheetah, one that is different from her previous incarnations, and that secret is revealed by the tribe of natives Cheetah is trying to slay while she is also fighting the Justice League. The secret isn't all that shocking, exactly, but it is different, as I said, and Johns handles the reveal in such a way that incorporates aspects of the past incarnations of the Cheetah character. That's always a nice touch.
We also begin to see some teamwork among the Leaguers in this issue. Superman was bitten by the Cheetah and transformed into a were-creature in the previous issue. Batman is concerned about his friend and needs Cyborg's help to restore the Man of Steel before Cheetah's bite kills him. Aquaman formulates a plan of attack for capturing Cheetah, and Batman willingly abdicates this chore to the Sea King, something the Dark Knight does not typically do with ease. Aquaman's plan makes use of both Wonder Woman's and the Flash's skills. Both teams are successful in achieving their goals. Nicely done, team!
Or maybe not. Unbeknownst to the Leaguers, Cheetah wanted to be captured. After she is left alone in her cell at Belle Reve Prison, she contacts someone we can neither see nor hear. She confirms that she is in place and will await the arrival of Black Manta, yet another secret.
However, there are more secrets in this issue than just the "Secret(s) of the Cheetah." At the end of the mission, Superman takes Wonder Woman to visit Smallville. The couple's "date" helps them both heal, recoup and get to know each other better. The issue ends with the pair's second kiss and the reveal that they are being spied on by someone.
I wish sometimes that Johns would get there faster, but this is becoming the team I want to read about.
Friday, March 15, 2013
Taking A Cue From The Film
Indestructible Hulk 1
Marvel Comics
Mark Waid, writer
Leinil Yu, artist
Several reviewers of "The Avengers" movie gave their highest praise to the portrayal of the Hulk. This book takes that concept and runs with it.
I have to say I haven't been too impressed with most of the advance information on the Marvel Now! titles. Some of them might be very good stories, but most didn't make me want to pre-order the books. However, I've enjoyed Waid's writing in the past, most recently on his recent new take on Daredevil. So I thought I would give his new Hulk a try based on that title.
This first issue was necessarily mostly setup and thus pretty Banner-heavy at the cost of very little Hulk action. But I like the direction Waid is going. Banner hasn't exactly decided to embrace his green alter ego, but he HAS decided to quit using Hulk as an excuse to be miserable. He decides to turn himself in to S.H.I.E.L.D. director Maria Hill and request a staff and funding so that he can produce the kind of innovations to help mankind that Reed Richards and Tony Stark often create. After all, Banner is a pretty smart guy in his own right. In exchange, he will allow himself to be pointed in the villains' direction WHEN he hulks out, because as he puts it, "It's a given" that he will hulk out at some point. Then when the crisis is averted and Hulk calms down, S.H.I.E.L.D. just comes in and gives Banner a lift back to his lab. Everybody wins.
I love this concept and am anxious to see it in action, so I plan to stick with this book for a while. In fact, my only real complaint so far is the Hulk's hair. When Banner does finally hulk out in this issue to take down the Mad Thinker as his trial run with S.H.I.E.L.D., the Hulk is colored as the familiar green everywhere but his hair, which remains brown. Not only is that not consistent with ANY other incarnation of the character I'm familiar with, it just looks odd!
Marvel Comics
Mark Waid, writer
Leinil Yu, artist
Several reviewers of "The Avengers" movie gave their highest praise to the portrayal of the Hulk. This book takes that concept and runs with it.
I have to say I haven't been too impressed with most of the advance information on the Marvel Now! titles. Some of them might be very good stories, but most didn't make me want to pre-order the books. However, I've enjoyed Waid's writing in the past, most recently on his recent new take on Daredevil. So I thought I would give his new Hulk a try based on that title.
This first issue was necessarily mostly setup and thus pretty Banner-heavy at the cost of very little Hulk action. But I like the direction Waid is going. Banner hasn't exactly decided to embrace his green alter ego, but he HAS decided to quit using Hulk as an excuse to be miserable. He decides to turn himself in to S.H.I.E.L.D. director Maria Hill and request a staff and funding so that he can produce the kind of innovations to help mankind that Reed Richards and Tony Stark often create. After all, Banner is a pretty smart guy in his own right. In exchange, he will allow himself to be pointed in the villains' direction WHEN he hulks out, because as he puts it, "It's a given" that he will hulk out at some point. Then when the crisis is averted and Hulk calms down, S.H.I.E.L.D. just comes in and gives Banner a lift back to his lab. Everybody wins.
I love this concept and am anxious to see it in action, so I plan to stick with this book for a while. In fact, my only real complaint so far is the Hulk's hair. When Banner does finally hulk out in this issue to take down the Mad Thinker as his trial run with S.H.I.E.L.D., the Hulk is colored as the familiar green everywhere but his hair, which remains brown. Not only is that not consistent with ANY other incarnation of the character I'm familiar with, it just looks odd!
Tuesday, March 12, 2013
Not Quite As Good As The Main, But Purty
Batgirl 14
DC Comics
Gail Simone, writer
Ed Benes, Daniel Sampere, Vicente Cifuentes and Mark Irwin, artists
One might have an indication right off the bat that maybe the art in this issue of Batgirl is not the best just from the number of artists listed. And to be sure, these guys' take on the new, faceless Joker is not quite up to the scary interpretation by Greg Capullo and Jonathan Glapion in the main Batman title. But I will grant them that the fight scenes between Barbara Gordon and some clown-faced home invaders are some nice scenes.
Although there was some important lead-in from the previous issue, this is Batgirl's first full chapter in the "Death of the Family" crossover. It is made clear here for anyone not reading the main title that the Joker has decided that all of the Batman's allies and friends weigh him down and dilute his greatness. Over in Batman, the Joker's response to that situation seems to be the elimination of said friends and allies, although the story is just getting started. Here, however, Joker seems to have a different endgame in mind for Batgirl. That may or may not be influenced by the fact that Joker is not the only villain in this issue and the fact that it is so far unclear if the two villains are working separately or in collusion. I'm willing to give writer Gail Simone some leeway at this point before I pronounce this tie-in as not matching up, but it is curiously divergent at this point.
DC Comics
Gail Simone, writer
Ed Benes, Daniel Sampere, Vicente Cifuentes and Mark Irwin, artists
One might have an indication right off the bat that maybe the art in this issue of Batgirl is not the best just from the number of artists listed. And to be sure, these guys' take on the new, faceless Joker is not quite up to the scary interpretation by Greg Capullo and Jonathan Glapion in the main Batman title. But I will grant them that the fight scenes between Barbara Gordon and some clown-faced home invaders are some nice scenes.
Although there was some important lead-in from the previous issue, this is Batgirl's first full chapter in the "Death of the Family" crossover. It is made clear here for anyone not reading the main title that the Joker has decided that all of the Batman's allies and friends weigh him down and dilute his greatness. Over in Batman, the Joker's response to that situation seems to be the elimination of said friends and allies, although the story is just getting started. Here, however, Joker seems to have a different endgame in mind for Batgirl. That may or may not be influenced by the fact that Joker is not the only villain in this issue and the fact that it is so far unclear if the two villains are working separately or in collusion. I'm willing to give writer Gail Simone some leeway at this point before I pronounce this tie-in as not matching up, but it is curiously divergent at this point.
Sunday, March 10, 2013
The Tension Builds
Batman 14
DC Comics
Scott Snyder, writer
Greg Capullo and Jonathan Glapion, artists
Just a few words about this one as I'm trying to avoid major spoilers for anyone who hasn't yet read the issue. Continuing the "Death of the Family" story arc begun last issue, this installment ramps up the tension in the same fashion. Two of Batman's allies have already been removed from play by various means. The body count beyond major characters is staggering. The Joker's new look is indeed horrifying. Batman's struggle to contain his emotions and react rationally is clear. And there's even a nice bit of character interaction between Batman and Nightwing, which I can't show because of those spoilers I'm trying to avoid. But such interactions between these two characters are something I'm always happy to see, especially in light of their last meeting I read about. I hope this crossover continues to maintain this high level of energy and excitement!
DC Comics
Scott Snyder, writer
Greg Capullo and Jonathan Glapion, artists
Just a few words about this one as I'm trying to avoid major spoilers for anyone who hasn't yet read the issue. Continuing the "Death of the Family" story arc begun last issue, this installment ramps up the tension in the same fashion. Two of Batman's allies have already been removed from play by various means. The body count beyond major characters is staggering. The Joker's new look is indeed horrifying. Batman's struggle to contain his emotions and react rationally is clear. And there's even a nice bit of character interaction between Batman and Nightwing, which I can't show because of those spoilers I'm trying to avoid. But such interactions between these two characters are something I'm always happy to see, especially in light of their last meeting I read about. I hope this crossover continues to maintain this high level of energy and excitement!
Friday, March 08, 2013
Now This Promises To Be Good
Worlds' Finest 6
DC Comics
Paul Levitz, writer
Kevin Maguire, George Perez and Sandra Hope, artists
This is the first installment of a new story arc for this title, and it looks to be a good one as the superhero community of the main DCnU Earth is going to learn more about the existence of Huntress and Power Girl, two heroines stranded here from Earth 2. Power Girl narrowly avoids a chance encounter with her Earth 1 doppelganger, Supergirl, while returning to her corporate headquarters after a quick jaunt into low-earth orbit. I don't know much about the DCnU version of Supergirl, so I have to admit, that meeting didn't hold much appeal for me at this point, and I wasn't sorry to see the encounter avoided.
Huntress is not quite so lucky. She has made reference in previous issues to "borrowing" money from this world's version of Bruce Wayne when the two heroines first arrived in this universe. That was five years ago. With Huntress' globe-trotting adventures, that money stash has been used up, and Helena is forced to return to Gotham City for more operating funds. She explains through the narration that for her "thefts" to go undetected, she must access a terminal inside the actual bank, otherwise she wouldn't risk a visit to Batman's city.
Huntress' activities are interrupted by the appearance of the current Robin, Damian Wayne. Unlike the previous Robins, Damian is the flesh-and-blood son of Batman just like Huntress is the flesh-and-blood daughter of her world's Batman. Now this meeting/conflict is cool!
Damian has discovered the theft of funds and has been waiting for the culprit to make a return appearance. Through the course of the ensuing fight, Damian lets it slip that the thief's greed is what tipped him off to what Helena had previously believed was an undetectable incursion. It seems money has been disappearing from Wayne accounts every few weeks, but this is only Helena's second "withdrawal." Helena explains that she is not the thief Damien is after and offers to help him catch the real villain. Damian agrees, providing Helena explains who she is and how she can be related to his father as Damian senses she is. This was a great setup, and next issue ought to be good!
DC Comics
Paul Levitz, writer
Kevin Maguire, George Perez and Sandra Hope, artists
This is the first installment of a new story arc for this title, and it looks to be a good one as the superhero community of the main DCnU Earth is going to learn more about the existence of Huntress and Power Girl, two heroines stranded here from Earth 2. Power Girl narrowly avoids a chance encounter with her Earth 1 doppelganger, Supergirl, while returning to her corporate headquarters after a quick jaunt into low-earth orbit. I don't know much about the DCnU version of Supergirl, so I have to admit, that meeting didn't hold much appeal for me at this point, and I wasn't sorry to see the encounter avoided.
Huntress is not quite so lucky. She has made reference in previous issues to "borrowing" money from this world's version of Bruce Wayne when the two heroines first arrived in this universe. That was five years ago. With Huntress' globe-trotting adventures, that money stash has been used up, and Helena is forced to return to Gotham City for more operating funds. She explains through the narration that for her "thefts" to go undetected, she must access a terminal inside the actual bank, otherwise she wouldn't risk a visit to Batman's city.
Huntress' activities are interrupted by the appearance of the current Robin, Damian Wayne. Unlike the previous Robins, Damian is the flesh-and-blood son of Batman just like Huntress is the flesh-and-blood daughter of her world's Batman. Now this meeting/conflict is cool!
Damian has discovered the theft of funds and has been waiting for the culprit to make a return appearance. Through the course of the ensuing fight, Damian lets it slip that the thief's greed is what tipped him off to what Helena had previously believed was an undetectable incursion. It seems money has been disappearing from Wayne accounts every few weeks, but this is only Helena's second "withdrawal." Helena explains that she is not the thief Damien is after and offers to help him catch the real villain. Damian agrees, providing Helena explains who she is and how she can be related to his father as Damian senses she is. This was a great setup, and next issue ought to be good!
Tuesday, March 05, 2013
She's A Calming Influence
Aquaman 13
DC Comics
Geoff Johns, writer
Ivan Reis, Joe Prado and Julio Ferreira, artists
After the detour of this title's Zero issue, discussed here, we return to the action of "The Others." Black Manta has stolen all of the Atlantean relics from the members of the Others team Aquaman used to be a part of -- all of them, that is, except for Aquaman's trident. Along the way, Manta has brutally murdered two members of the Others, Vostok and Kahina. Understandably, Aquaman is out for blood, and none of the surviving members of the Others is able to dissuade him from pursuing and exacting revenge on Manta. Aquaman's wife, Mera, however, is another story.
Mera has been learning about Arthur's past with the Others for the first time as the events of this arc unfold. She has also seen Aquaman grow more and more enraged with each clash. She forces Arthur to acknowledge that he really doesn't blame Manta for his father's death anymore. With time has come the clarity that the heart attack that killed his father would likely have happened even without Manta's attack. That realization only makes Arthur feel worse about his subsequently, mistakenly, taking the life of Manta's father. Mera gets Arthur to admit his shame, then reassures him that he is no longer the man he was six years ago when these events took place. Mera talks Aquaman down so that the final confrontation is not a one-on-one bloodfest, but rather a decisive but non-lethal take down of Black Manta by Aquaman, with Mera and the Others as backup.
On the negative side, this issue also reveals that Manta did not steal the Atlantean artifacts for himself. He was working for someone else who, at this point, remains in the shadows. Nice wrap-up to "The Others" saga, but Aquaman's story is far from over.
DC Comics
Geoff Johns, writer
Ivan Reis, Joe Prado and Julio Ferreira, artists
After the detour of this title's Zero issue, discussed here, we return to the action of "The Others." Black Manta has stolen all of the Atlantean relics from the members of the Others team Aquaman used to be a part of -- all of them, that is, except for Aquaman's trident. Along the way, Manta has brutally murdered two members of the Others, Vostok and Kahina. Understandably, Aquaman is out for blood, and none of the surviving members of the Others is able to dissuade him from pursuing and exacting revenge on Manta. Aquaman's wife, Mera, however, is another story.
Mera has been learning about Arthur's past with the Others for the first time as the events of this arc unfold. She has also seen Aquaman grow more and more enraged with each clash. She forces Arthur to acknowledge that he really doesn't blame Manta for his father's death anymore. With time has come the clarity that the heart attack that killed his father would likely have happened even without Manta's attack. That realization only makes Arthur feel worse about his subsequently, mistakenly, taking the life of Manta's father. Mera gets Arthur to admit his shame, then reassures him that he is no longer the man he was six years ago when these events took place. Mera talks Aquaman down so that the final confrontation is not a one-on-one bloodfest, but rather a decisive but non-lethal take down of Black Manta by Aquaman, with Mera and the Others as backup.
On the negative side, this issue also reveals that Manta did not steal the Atlantean artifacts for himself. He was working for someone else who, at this point, remains in the shadows. Nice wrap-up to "The Others" saga, but Aquaman's story is far from over.
Sunday, March 03, 2013
Blast From The Past!
World's Finest Comics 241
Cover date: October 1976
DC Comics
Bob Haney, writer
Pablo Marcos, artist
This is not the most well-crafted story; there are quite a number of failures in logic and failures to simply use their abilities on the parts of both Superman and Batman in this team-up tale. But it is one I remember reading and enjoying as a kid.
The cover first drew my attention, as so many cool comics covers did in those days before advanced solicitation releases made it harder and harder to NOT know what was on the inside of the comic before you could hold it in your hands. That brutish cyclops figure threatening a small group of people while Superman and Batman fly off, indifferent -- how could one resist asking, "What is going on here?!?"
The story opens moments before the launch of Aquarius I, humanity's first attempt to journey into space beyond the moon. Such a major undertaking has led to the assembly of a crew of nine with some unusual backgrounds. The commander of the mission is ex-Air Force Major "Iron Mike" Jordan, who is looking for new challenges in his life. The others are P.K. Osborn, one of the world's richest industrialists bored with how easily he can make money, yet still consumed by the need to have more of it; Kitty Carstairs, a bitter stuntwoman looking for another avenue to prove she is better than any man; Spider Hart, a prize fighter who never got his chance at the title; Midge Dexter, a young widow looking for meaning in her lonely life; Holly Bishop, a fading rock star hoping to cash in on the rocket by relaunching his career; Bud Williams, a former convict looking for redemption; Bruce Wayne, the "playboy businessman whose company built the rocket;" and finally, Clark Kent, WGBS television news anchor covering the project for his viewers. That's quite a crew, many of whom have very large chips on their shoulders, but my favorite is Wayne, who thinks to himself, "Gotham City will have to do without Batman while I go along to see how my ship works!" The modern incarnation of the Darkknight Detective would shudder at this Batman's lack of dedication to his mission!
As one might expect, conflict breaks out among the crew before the rocket has even left the ground. Jordan and Hart butt heads over who's in charge, Dexter and Bishop quarrel over music, and Carstairs puts Wayne in his place when he offers to help her with her luggage. Even Osborn and Williams clash over the need to turn over all money to the mission's finance officer. It seems Osborn has brought a large box of cash with him, which Williams confiscates because it is against the rules to have cash in space "to upset things." At first, this might seem a silly rule -- although no less silly than why Osborn would bring the cash on a space mission anyway -- but it is actually a clue of sorts to later events.
The rocket blasts off and nine days quickly pass without incident, at least not any that we are shown. But on that ninth day, Jordan is unable to raise anyone from Earth on the radio. Wayne checks the rocket's other instruments only to find no evidence of Earth's existence. When the other startled members of the crew look out the rocket's viewing ports, they see only debris where Earth should be. Kent secretly slips out of the rocket and changes to Superman and confirms that Earth is no longer there! Kent comes back to the rocket, quickly confers with Wayne, and then the pair fake their own deaths, reappearing outside the rocket as Superman and a space-suited Batman. The heroes explain their sudden appearance by saying they were on the Justice League satellite when Earth was destroyed and came looking for the only survivors, the crew of Aquarius I.
Superman begins creating a new planet by first smashing together a number of asteroids, carving out continents with his strength, melting a comet for ocean water, and finally sucking up bits of atmosphere from other planets and bringing them to New Earth. The Aquarius I crew begins building a life for themselves, but their old prejudices taint their efforts; again they fight over wealth, personal space and breeding rights. Things only get worse when a sole alien visitor stops by. The reptilian visitor, named Alarik, claims his own planet is over-populated and that he is a scout looking for suitable expansion locations. Superman tells Alarik that there is plenty of room for more on the planet he has built since it is roughly the size of Earth but sustains only nine people at present. But the Aquaris crew refuses to share with an outsider and instead attacks Alarik. Superman and Batman, clearly disgusted by the Aquarius crew's behavior, vow to abandon them to their own selfish devices and fly off.
While the rest subdue Alarik, Bishop makes a discovery onboard Aquarius I -- a secret compartment -- but before he can tell anyone, the monstrous cyclops from the cover (remember him?) emerges from a nearby cave and threatens the humans. As the crew race to the safety of their ship, they theorize that the cyclops must have been trapped inside one of the asteroids Superman used to create New Earth. The humans make it to the Aquarius and see that Alarik has freed himself. The alien chastises the humans for not being willing to defend their new home. Alarik challenges the cyclops, and is killed for his efforts. Belatedly, the shamed humans decide to fight the cyclops, but don't fare too well until Superman and Batman return. The heroes were feeling guilty about abandoning the last humans, and arrive in the nick of time.
Once the cyclops creature is dispatched, the Aquarius crew notices that Alarik was not an alien after all, but a human in disguise. This discovery is interrupted by an announcement over the ship's radio -- an announcement from Earth! Superman flies off to investigate and confirms that Earth is, in fact, right where it should be. When he returns, Superman learns that the Aquarius crew has made more discoveries. "Alarik" was really Dr. John Travis, the scientist behind their project. The destruction of Earth and all that followed was a test to see how the crew would react to the news. They all resolve to be better people in the future as a result of all they've been through, and the crew blasts off for Earth. Once they touch down, Kent and Wayne emerge from the secret compartment, and Kent explains that they were part of the test to make it more believable. They'd only faked their own deaths earlier, a ruse that protects the heroes' secret identities.
Except, Superman and Batman couldn't have been "in" on the test idea. After Kent's explanation to the rest of the Aquarius crew, Wayne thinks to himself, "That Supes is no dummy! He bent the truth to cover our secret identities!" But then, if Superman and Batman weren't in on the test, why couldn't they figure out Dr. Travis was aboard the Aquarius I with them from the start? Superman should have noticed an extra heartbeat with his super-hearing. For that matter, Superman shouldn't have been fooled by the phony destruction of Earth. Once the ruse is revealed, he guesses that some nearby crystalline asteroids refracted the light from Earth, rendering it invisible, but he flew to where Earth should have been. Even invisible, he should have "bumped" into the planet.
Like many of Haney's stories, this one has some super-sized holes for an adult reader to puzzle over. But the kid in me still likes the fantastic nature of this story and gets too caught up in the action to wonder about silly questions that don't really matter.
Cover date: October 1976
DC Comics
Bob Haney, writer
Pablo Marcos, artist
This is not the most well-crafted story; there are quite a number of failures in logic and failures to simply use their abilities on the parts of both Superman and Batman in this team-up tale. But it is one I remember reading and enjoying as a kid.
The cover first drew my attention, as so many cool comics covers did in those days before advanced solicitation releases made it harder and harder to NOT know what was on the inside of the comic before you could hold it in your hands. That brutish cyclops figure threatening a small group of people while Superman and Batman fly off, indifferent -- how could one resist asking, "What is going on here?!?"
The story opens moments before the launch of Aquarius I, humanity's first attempt to journey into space beyond the moon. Such a major undertaking has led to the assembly of a crew of nine with some unusual backgrounds. The commander of the mission is ex-Air Force Major "Iron Mike" Jordan, who is looking for new challenges in his life. The others are P.K. Osborn, one of the world's richest industrialists bored with how easily he can make money, yet still consumed by the need to have more of it; Kitty Carstairs, a bitter stuntwoman looking for another avenue to prove she is better than any man; Spider Hart, a prize fighter who never got his chance at the title; Midge Dexter, a young widow looking for meaning in her lonely life; Holly Bishop, a fading rock star hoping to cash in on the rocket by relaunching his career; Bud Williams, a former convict looking for redemption; Bruce Wayne, the "playboy businessman whose company built the rocket;" and finally, Clark Kent, WGBS television news anchor covering the project for his viewers. That's quite a crew, many of whom have very large chips on their shoulders, but my favorite is Wayne, who thinks to himself, "Gotham City will have to do without Batman while I go along to see how my ship works!" The modern incarnation of the Darkknight Detective would shudder at this Batman's lack of dedication to his mission!
As one might expect, conflict breaks out among the crew before the rocket has even left the ground. Jordan and Hart butt heads over who's in charge, Dexter and Bishop quarrel over music, and Carstairs puts Wayne in his place when he offers to help her with her luggage. Even Osborn and Williams clash over the need to turn over all money to the mission's finance officer. It seems Osborn has brought a large box of cash with him, which Williams confiscates because it is against the rules to have cash in space "to upset things." At first, this might seem a silly rule -- although no less silly than why Osborn would bring the cash on a space mission anyway -- but it is actually a clue of sorts to later events.
The rocket blasts off and nine days quickly pass without incident, at least not any that we are shown. But on that ninth day, Jordan is unable to raise anyone from Earth on the radio. Wayne checks the rocket's other instruments only to find no evidence of Earth's existence. When the other startled members of the crew look out the rocket's viewing ports, they see only debris where Earth should be. Kent secretly slips out of the rocket and changes to Superman and confirms that Earth is no longer there! Kent comes back to the rocket, quickly confers with Wayne, and then the pair fake their own deaths, reappearing outside the rocket as Superman and a space-suited Batman. The heroes explain their sudden appearance by saying they were on the Justice League satellite when Earth was destroyed and came looking for the only survivors, the crew of Aquarius I.
Superman begins creating a new planet by first smashing together a number of asteroids, carving out continents with his strength, melting a comet for ocean water, and finally sucking up bits of atmosphere from other planets and bringing them to New Earth. The Aquarius I crew begins building a life for themselves, but their old prejudices taint their efforts; again they fight over wealth, personal space and breeding rights. Things only get worse when a sole alien visitor stops by. The reptilian visitor, named Alarik, claims his own planet is over-populated and that he is a scout looking for suitable expansion locations. Superman tells Alarik that there is plenty of room for more on the planet he has built since it is roughly the size of Earth but sustains only nine people at present. But the Aquaris crew refuses to share with an outsider and instead attacks Alarik. Superman and Batman, clearly disgusted by the Aquarius crew's behavior, vow to abandon them to their own selfish devices and fly off.
While the rest subdue Alarik, Bishop makes a discovery onboard Aquarius I -- a secret compartment -- but before he can tell anyone, the monstrous cyclops from the cover (remember him?) emerges from a nearby cave and threatens the humans. As the crew race to the safety of their ship, they theorize that the cyclops must have been trapped inside one of the asteroids Superman used to create New Earth. The humans make it to the Aquarius and see that Alarik has freed himself. The alien chastises the humans for not being willing to defend their new home. Alarik challenges the cyclops, and is killed for his efforts. Belatedly, the shamed humans decide to fight the cyclops, but don't fare too well until Superman and Batman return. The heroes were feeling guilty about abandoning the last humans, and arrive in the nick of time.
Once the cyclops creature is dispatched, the Aquarius crew notices that Alarik was not an alien after all, but a human in disguise. This discovery is interrupted by an announcement over the ship's radio -- an announcement from Earth! Superman flies off to investigate and confirms that Earth is, in fact, right where it should be. When he returns, Superman learns that the Aquarius crew has made more discoveries. "Alarik" was really Dr. John Travis, the scientist behind their project. The destruction of Earth and all that followed was a test to see how the crew would react to the news. They all resolve to be better people in the future as a result of all they've been through, and the crew blasts off for Earth. Once they touch down, Kent and Wayne emerge from the secret compartment, and Kent explains that they were part of the test to make it more believable. They'd only faked their own deaths earlier, a ruse that protects the heroes' secret identities.
Except, Superman and Batman couldn't have been "in" on the test idea. After Kent's explanation to the rest of the Aquarius crew, Wayne thinks to himself, "That Supes is no dummy! He bent the truth to cover our secret identities!" But then, if Superman and Batman weren't in on the test, why couldn't they figure out Dr. Travis was aboard the Aquarius I with them from the start? Superman should have noticed an extra heartbeat with his super-hearing. For that matter, Superman shouldn't have been fooled by the phony destruction of Earth. Once the ruse is revealed, he guesses that some nearby crystalline asteroids refracted the light from Earth, rendering it invisible, but he flew to where Earth should have been. Even invisible, he should have "bumped" into the planet.
Like many of Haney's stories, this one has some super-sized holes for an adult reader to puzzle over. But the kid in me still likes the fantastic nature of this story and gets too caught up in the action to wonder about silly questions that don't really matter.
Friday, March 01, 2013
A Being Of Few Words
Star Trek 14
IDW Publishing
Mike Johnson, writer
Stephen Molnar, artist
The large majority of stories from this series are two-issue arcs, but this one and the last issue are done-in-one tales, each focusing on one of the lesser-knowns from the rebooted film universe. This time out we get a nice look at the back story and motivations of Keenser, the diminutive alien Kirk stumbles across on Delta Vega when he first meets Montgomery Scott.
It turns out that despite Keenser's small stature when compared with Scott and his other shipmates aboard the Enterprise, he is unusually tall for his species. Fitting in is a recurring theme for this issue, and while there is much played for comic effect, the character is still treated with respect and given much more depth than time constraints allowed in the film.
All in all, another fine comic expanding on the rebooted film Trek universe. It's well worth checking out.
IDW Publishing
Mike Johnson, writer
Stephen Molnar, artist
The large majority of stories from this series are two-issue arcs, but this one and the last issue are done-in-one tales, each focusing on one of the lesser-knowns from the rebooted film universe. This time out we get a nice look at the back story and motivations of Keenser, the diminutive alien Kirk stumbles across on Delta Vega when he first meets Montgomery Scott.
It turns out that despite Keenser's small stature when compared with Scott and his other shipmates aboard the Enterprise, he is unusually tall for his species. Fitting in is a recurring theme for this issue, and while there is much played for comic effect, the character is still treated with respect and given much more depth than time constraints allowed in the film.
All in all, another fine comic expanding on the rebooted film Trek universe. It's well worth checking out.
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