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Zero Hour Revisited – Zero Hour: Crisis in Time #4

Posted on July 6, 2016 by Walt

90srevisited_zerohour

zero_hour_0004Story and Art: Dan Jurgens
Finished Art: Jerry Ordway
Letterer: Gaspar
Colorist: Gregory Wright
Asst. Editor: Mike McAvennie
Editor: KC Carlson
Published by: DC Comics
Cover Date: September 1994
Cover Price: $1.50

As a weekly, core event mini-series, there is a LOT that happens in this book. Also, though this is the first issue of the series, it was numbered as 4–because we’re counting down TO Zero Hour, and go from #4, to #3, down to #0.

This was my first DC Universe event that I got in on from the very beginning. While I count Eclipso: The Darkness Within and Bloodlines as events, those played out in Annuals and thus were a separate thing from the actual titles. Zero Hour played out across actual issues of a bunch of different series throughout July 1994, and was truly an Event, capital-E.

We open on the Time Trapper being killed. Knowing the end of this story and 20+ years of DC history since, it makes total sense who the villain of the piece is from these pages, though I recall being entirely clueless at the time. We then jump around quite a bit as pieces are moved into place, both for this core series and to set things up for tie tie-in titles for the first week of the event. Metron finds Darkseid and urges him to act. When that fails, he leaves on his own to seek allies elsewhere. Meanwhile, the Joker finds himself facing Batgirl, and then an equally-surprised Batman and Robin who don’t know who this young woman is. The Linear men become aware of a disturbance in Time, so Waverider and Hunter (with no reference at all to Sum: Zero–the Prelude to Zero Hour from Showcase ’94 #s 8-9) are dispatched to investigate. They arrive in the far future just in time to see The Flash–Wally West–die trying to shut down the rift eating through Time itself…they escape into the past. Back in the present, Superman meets up with Batman for the first time since before their respective “big events” (Superman’s death/return and Batman’s broken back/healing)…just as Metron shows up. Waverider and Hunter then encounter a young Hal Jordan, himself displaced in time, and try once again to stop the rift, but this time only Waverider gets out, though Hunter is able to tell him to look up a “crisis.” Back on Earth in the present, Hawkman confronts Vandal Savage, and then splits into numerous iterations of himself, confusing Savage. Metron and Superman locate Kyle Rayner, the current Green Lantern, and broadcast a message to the heroes of Earth, informing them of the situation. Metron then confronts the Spectre; Hawkman re-merges with himself as the Justice Society shows up; Vandal Savage disappears, and Waverider appears, bearing the horrible news of this crisis having already claimed its Flash…and Extant gloats.

Given its relative quick point, I’ll touch on the art, first. It’s Jurgens…with Ordway. Fantastic stuff, some of my absolute favorite, particularly given their involvement with the Superman books, this was a line-wide event, but helmed by “the Superman guys” I was already familiar with, AND Superman’s involved, so when this came out, it seemed a natural extension–or expansion–for me, and fit perfectly. Even now in 2016, I love the art, and it just IS. This being my first such event, and these guys on the art, their work became instantly “iconic” for me, and a standard I often hold stuff to even after another 22 years.

Story-wise, this also fit into the Superman books of the time–my core anchor to the then-DC Universe. His involvement here brought me into it (Ditto Waverider), and though at the time I wasn’t all that familiar with many characters, there were enough that I WAS familiar with that it never turned me off. I understood–even then–that this was bringing together a ton of different characters, so I followed along, getting more out of the characters I knew, and rolling with those I did not. Some of the scenes that unfold in this book remain iconic to me both in the visuals as well as story beats–particularly the Flash’s big moment.

We get just enough in this issue itself to grasp the core of what’s going on–rifts in Time are eating backward from the End of Time as well as the Beginning, causing anything from those periods to cease to exist, both ends moving toward the late 20th century. We see characters experiencing chronal anomalies, as everyone is affected from humans to gods and everyone in between.

This issue virtually ignores the prelude bits from Showcase ’94, without even a reference or footnote pointing readers to it, so I certainly didn’t miss it back then, though it gives context for the panel Extant appears in here. Other than that, we’re introduced to the situation, see how it’s affecting things, see various characters face the situation while others notice its effects, a call to action goes out, and though this issue alone provides a lot of story, it also shows us glimpses of things that are expanded on in various tie-in issues. I only remember reading several of the Batman and of course the Superman tie-ins, and this core series and getting plenty from the Event. This time through, I’m reading every tie-in that I’m aware of, hopefully lined up with the weeks they were originally released in (corresponding to the core mini’s issues).

The core series was a 5-issue WEEKLY book…with the entire event, start to finish (outside of the prelude) taking place in ONE MONTH. Blink, and you miss it. Blink twice, and you missed the Zero Month as well. Drastically unlike modern events that can take six or more months to a year to play out, chewing up entire ARCS in a title or filling entire mini-series if characters’ involvement can’t interrupt something in their individual titles. Zero Hour, then a bunch of #0 issues for Zero Month, then the DC Universe continued on.

That I’m about to dive into all of the tie-ins along with the core series and Superman/Batman books is something I’ve wanted to do for a long time. And as a self-proclaimed Official Reading Project, I’ll be sharing my experience in writing, as I intend to cover every issue (including the Booster Gold issue from Geoff Johns).

The clock is ticking…

Filed under: 2016 posts, The '90s Revisited, Zero Hour | Tagged: , , , , , , , , , , , , , , , , , , , | 2 Comments »

Zero Hour Revisited – Showcase ’94 #9

Posted on July 5, 2016 by Walt

90srevisited_zerohour

showcase_94_0009The Secret Origin of Scarface part Two – Call Me Scarface

Script: Alan Grant & John Wagner
Art & Colors: Teddy Kristiansen
Lettering: Ken Bruzenak
Consulting Editor: Dennis O’Neil
Editor: Neal Pozner
Cover: Shawn McManus
Published by: DC Comics
Cover Date: August 1994
Cover Price: $1.95

Much as with the first chapter of this Scarface story, the art’s rather simplistic…but expecting it this time and looking past it not being ‘great’ and just taking it as it is, it works very well here getting everything across that needs to be, at least in not taking me out of the story AS I read, and leaving me satisfied with the story at the end.

Wesker and Woody make good on their escape–though it involves a brick-to-the-face and then hanging of Donnegan, and the murder of a couple of guards. We see Wesker falling prey to whatever madness Donnegan had–as the dummy seems to be the lead and the Ventriloquist following. We also get a sort of explanation for Scarface’s speech thing–his “B” having a “G” sound–as Wesker isn’t that great a ventriloquist.

The story is fitting, and I’m definitely quite satisfied with this “origin” of Wesker as The Ventriloquist, and Scarface, how they came together and all that. I can certainly visualize this being summarized in a one or two page origin–perhaps that’s been done elsewhere already (in Countdown, perhaps?) but that’s mostly irrelevant for now. As a lead feature in an anthology title, it works, was an enjoyable read, and after the first chapter in the previous issue I was actually looking forward to this and trusting that it was to be a 2-part story and nothing longer.

A Story

Writer: Terrance Griep, Jr.
Penciller: Kyle Hotz
Inker: Pav Kovacic
Colorist: Mike Danza
Letterer: Albert DeGuzman
Editor: Neal Pozner

This “middle story” is a brief one, but interesting. Like the Wildcat piece in the previous issue, it’s singular and self-contained; a slice of life sorta thing. We meet Pax, a man bent on revenge against the alien parasites that slaughtered his people–the entire population of his world except he himself. As he narrates his story, it comes to light that the parasites can look like anyone, and we see him take on a group of them, killing them…and moving on. When he’s picked up by a group of “police,” he begins his narration again as we see that his hunt-and-kill mission continues.

I had absolutely no idea what to think of this story at first. At the first page, I thought MAYBE this was Vandal Savage or someone of that nature, given the name “Pax,” but obviously I was quickly proven wrong in my assumption. The parasites appear to be the sort that we saw in Bloodlines–the Annuals event from 1993, which would make sense given this story would have been out just a few months after the end of that event in Bloodbath. And for a one-off story, seeing someone hunting the parasites would kinda show them to be a bigger deal than just the few that made it to Earth and caused the trouble they did.

The lack of expectation going in, of even knowing what the segment was to be about, worked in its favor. The art fits, gets stuff across quite effectively; and has little to be compared to on this read-through. The story itself is ultimately forgettable, but still worth having read it. Reading this in 2016, though, it puts me in mind of 2014’s Armor Hunters from Valiant…as the lone survivor of a planet hunting down parasites like those that destroyed his planet, with singular vision and little regard for the consequences beyond killing the parasites.

Thinking of it as the likes of Armor Hunters actually makes me like it all the more. While I wouldn’t care for any sort of dedicated mini-series or ongoing series like this…as a “random” thing in an issue I’m reading anyway, it’s well worth the several minutes of reading and realization!

Sum: Zero part two

Story: Dan Jurgens
Pencils: Frank Fosco
Inks: Ken Branch
Lettering: Starkings/Comicraft
Colors: Stuart Chaifetz
Editor: Neal Pozner

Once more, the final part of the issue is the selling point, the story I read the issue for.

We pick up on Monarch holding Waverider and Hunter in a stasis field. Though he’s able to get them into the timestream, he lacks the control to direct himself, and hopes to have Waverider use his power to do that–and in the doing he’ll learn it for himself. Things don’t go as planned, and Monarch–Hank Hall–learns a new “truth” of his past and what happened at the end of Armageddon 2001, and since he’s more powerful than he’d realized, and his future self had realized, as Time’s been altered, he decides instead of being Monarch, he’ll be Extant! And stealing Waverider’s Linear Men arm-control, disappears into the timestream. Hunter is suitably cheesed-off that the villain now has the ability to time-travel at will, and Waverider suggests that if this villain can uphold his potential, they stand at the edge of a true CRISIS.

Yep, 9-ish years after “THE” Crisis (on Infinite Earths), a new one is about to unfold.

As with the previous issue’s segment of this story, the art works well, if not being completely to my liking. The story also works, feeding us directly into Zero Hour, and revealing that this story was primarily about transforming Monarch (Hank Hall) into Extant, a sleeker and cooler-looking guy than the clunky Monarch was, but without having to “corrupt” any other characters. This also allows the character to come with built-in, already-established “street cred” AS a villain, extremely powerful and a true threat beyond any single hero’s ability to take him down.

Despite this, I originally read Zero Hour withOUT having read this prelude, and had no problem following along (that I recall), and it wasn’t until I read the collected edition that I got to read this…so Sum: Zero is not absolutely essential…but it’s satisfying as a piece of my completist mentality for this reading project.

OVERALL THOUGHTS

I’m glad I didn’t pay full price for this back in the day, as I would certainly NOT have appreciated the lead story nor the Pax segment…and probably, honestly, wouldn’t even have appreciated the Zero Hour piece. Reading it in 2016 having paid a dollar or less for both chapters, it’s a very satisfying read and well worth the expense and the time. And for reading the entire issue for both of these Showcase comics, I now have a better idea of the “origin” of the Bat-villain The Ventriloquist/Scarface.

It’s an anthology book, with a mix of creators both known and not, and characters that didn’t headline their own series, and all that, and it feels like one. This two-issue “taste” is much more satisfying than I recall the Batman segments of the two issues that tied into Knightfall, though that could be the more than two decades’ additional life lived and my ability to appreciate stuff as a mid-thirties adult than when I was just barely a teenager. I don’t know exactly when, but I look forward at least to the idea of binge-reading the several years’ worth of Showcase ’90s.

Filed under: 2016 posts, The '90s Revisited, Zero Hour | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment »

Zero Hour Revisited – Showcase ’94 #8

Posted on July 4, 2016 by Walt

90srevisited_zerohour

showcase_94_0008The Secret Origin of Scarface part One – The Gallows Doll

Script: Alan Grant & John Wagner
Art & Colors: Teddy Kristiansen
Lettering: Ken Bruzenak
Consulting Editor: Dennis O’Neil
Editor: Neal Pozner
Cover: Ted McKeever
Published by: DC Comics
Cover Date: July 1994
Cover Price: $1.95

I know I’ve read the Zero Hour portion of this issue in the collected edition of the event…but until now, I’ve never actually read Showcase ’94 #8 itself as a standalone comic! I was surprised by it, and rather enjoyed the experience overall.

This first story focuses on a prisoner in Blackgate–Donnegan–and how he gets a book on ventriloquism as a “joke” but ends up taking it fairly seriously. He even makes himself a dummy–carved from the wooden remains of the prison’s gallows. He and the dummy form an interesting relationship over the years…which leads to some conflict when a new prisoner, Arnold Wesker is assigned to Donnegan as a cellmate. Wesker is interested in the dummy and appreciates the “show” of ventriloquism. However, Donnegan is quite non-plussed at the perceived intrusion on his space, and commands Wesker to leave his dummy–“Woody”–alone. Wesker’s fascination leads him to investigate, which earns him a beating. Not long after, he seems to be hearing the dummy…even though Donnegan’s sound asleep.

The visuals for this story are rather simplistic, and don’t really do much for me. I recognize the dummy, and Wesker, by prior knowledge of them, and the “iconic” look of the dummy, and Wesker’s glasses. Beyond that, the art’s rather generic and unappealing. Still, it works for the story overall, and doesn’t exactly disappoint me, as I had zero expectation going in. It’s certainly not a “selling point” for me, but since the point of my reading the issue isn’t even this “main feature,” it can have a pass.

Story-wise, I liked this. All these years later and I’ve never consciously known–or at least retained–the origin of “The Ventriloquist” and “Scarface” (Woody). And this being (in part) an Alan Grant story (I don’t recall if he created the character to begin with, but I recognize him as one of the major writers on Batman stuff in the late-’80s/early-’90s) so that predisposed me to enjoy the story, and not write it off as just some throw-away story of a lesser-known Bat-villain. This is part one, and the fact that Wesker isn’t the original “Ventriloquist” (or there’s something a bit more messed up going on) is interesting, and I actually look forward to reading the next chapter.

Wildcat – Brujas y Gatos

Writer: Eddie Berganza
Penciller: Nick Gnazzo
Inker: Ray Kryssing
Colorist: Suzanne Bourdages
Letterer: Bill Oakley
Editor: Neal Pozner

I’m not overly familiar with Wildcat. I know the name Ted Grant, and recognize the character from Geoff Johns‘ JSA stuff (assuming I’m not mixing THIS Wildcat with someone else). Since I’ve never read anything in particular focusing on the character, I have no real preconceived notions to bring into the reading experience.

This is a short piece that finds Wildcat infiltrating a resurrection ceremony that seems to be–purportedly–to raise someone from the dead. Contextually we learn that the body to be raised is that of Ted’s friend Yolanda–who had attempted to become a new Wildcat…but she was apparently killed by Eclipso recently. (I have yet to read but was aware OF the short-lived Eclipso series that spun out of the Eclipso: The Darkness Within and recall hearing about there being several character deaths in short order toward the latter part of the series–I always remembered The Creeper being killed, but apparently Yolanda/Wildcat was also one). Wildcat observes, and only intervenes when a “fake” Yolanda shows up. He busts the ceremony and the fake Wildcat, revealing the truth and bringing some closure (albeit uber-convenient and quick) to the family of the dead woman.

This is a throw-away story, but recognizing it as a bit of follow-up to what I presume to be a virtually un-noticed otherwise death in a minor, now-forgotten book from the early-’90s, I can definitely appreciate its existence and purpose. At the least, it reminded me that that Eclipso series is out there and I’ve not yet acquired it, though I’ve had an interest in it for a couple decades now.

The art’s slightly over the top in a way, but not bad. I don’t recognize the art team’s names, but it’s not a bad piece. That this short “slice of life” episode IS so short but actually ends without a cliffhanger suggests to me that it’s a one-off piece in this anthology series…so it’s not even long enough for me to develop much opinion one way or the other.

The primary drawback to the piece at all is that it stood between me and the Zero Hour story.

Sum: Zero

Story: Dan Jurgens
Pencils: Frank Fosco
Inks: Ken Branch
Lettering: Starkings/Comicraft
Colors: Stuart Chaifetz
Consulting Editors: Mike Carlin & K.C. Carlson
Editor: Neal Pozner

Vanishing Point–a place beyond Time itself, headquarters of the Linear Men. Hunter finds Waverider reminiscing, and confronts him over the fact that he–Waverider–may have stopped Monarch, but himself wiped out an entire timeline in the doing, making him worse than Monarch ever was. Waverider, though, doesn’t share the sentiment–though he does realize perhaps he should check into things with Hank Hall a bit more…though what he sees disturbs him. When he (and tag-along Hunter) journey to the late 20th century to investigate an anomaly that could be Monarch’s doing, they find him waiting, and themselves quite unprepared for this.

This piece is the “selling point” of the issue for me; the entire reason I picked the issue up to read. I’m pretty familiar with it already from having read the Zero Hour collected volume at least a couple times over the years, but this might be the first time actually reading it as part of this Showcase issue, in this exact format.

Trying to evaluate the art as a standalone thing, I realize it feels just a bit “off” somehow…probably because of not being Jurgens‘ art, or some such. It’s not bad by any means–and both Waverider and Hunter are familiar and distinct, and the imagery we get of Monarch and other elements that ought to be familiar from Armageddon 2001 fit, and convey the story.

The writing is Jurgens, and as a prologue to the Zero Hour event, this fits perfectly into stuff, giving us a bit of story involving these characters just prior to their stepping into that event.

OVERALL THOUGHTS

I thought about “just” touching on the Zero Hour story and “ignoring” the rest of the issue, but figured why not just read the whole thing? And I was pleasantly surprised. I got a chapter of a story fleshing out the background of a Bat-villain that isn’t the bore I might’ve thought it’d be. The Wildcat story wasn’t bad and its primary drawback was that I finished the Scarface story and was a bit surprised to not turn right into the Zero Hour story.

While the issue’s page numbering INCLUDES ad pages, it goes to page 46…which is much longer than “just” 20-22 pages, so even with ads, it’s roughly a double-sized issue for not much more than a standard-length issue would have been at the time. Considering I paid fifty cents or less for the issue, the time it took to read vs. the amount spent makes it an excellent value; I enjoyed the reading experience, and when adding the time spent writing up this post, means that it’s by far one of the highest-value comics I’ve read in quite awhile, holding/being the focus of my attention for so long.

Filed under: 2016 posts, The '90s Revisited, Zero Hour | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment »

The ’90s Revisited: Wonder Woman #112

Posted on June 17, 2016 by Walt

wonder_woman_0112Game Over

Writer/Artist: John Byrne
Colorist: Patricia Mulvihill
Assistant Editor: Jason Hernandez-Rosenblatt
Editor: Paul Kupperberg
Published by: DC Comics
Cover Date: August 1996
Cover Price: $1.95

There was little doubt in my mind of Wonder Woman’s survival…more just a matter of “how” the story would end.

We have a much smaller time gap between issues this time, as we open in the midst of the battle with “Doomsday,” which we do know is not the REAL creature, but more a sort of “clone” being fed power from the machine that allowed its creation. Given the enormity of the situation, and the significance of Doomsday (apparently) showing up, it’s no surprise that we get a guest-bit with Superman…a family moment as he places a tree he got for his parents, right before Jonathan pulls up to share a radio report of the creature’s presence. Superman heads off intending to join the battle, despite his parents urging him not to. While Wonder Woman and Champion join forces against the creature, and even Cassie gets into the mix, stuff at Lazarus’ place comes to a head as the authorities arrive to take him into custody over the situation. His “son” the computer spawns yet another creature that kills on the spot, and finally a last-ditch idea is tried…that resolves the situation, allowing the creature’s defeat (before Superman even gets there), and an almost too-neat wrapup to this 4-issue chunk of the series.

As with the last three chapters, this was solid overall, particularly on the art. I liked that the story “expanded” a bit, and brought Superman into play–it only makes sense that he’d be made aware of Doomsday seemingly showing up again, and would NOT make sense to not even give any time to his reaction, or that of anyone who knows him. This is also placed as being during that time when Superman and Lois were broken up…which gives me a better “consciousness” as to the timing of this issue and why I was so totally unaware of Doomsday’s appearances in the previous issue and this one: this came out while I was “out of” comics, between the end of The Trial of Superman and prior to the Superman Wedding and then the Electric Costume saga.

There’s nothing “new” really to say on the art–the creative credits have been the same across all 4 issues unless I’ve misread something somewhere, and what I’ve said before holds true to this issue as well. Perhaps the fact that we get Byrne drawing the mid-’90s Superman with the longer hair is another plus (adding to what I’d said earlier about seeing Byrne tackle Doomsday).

Story-wise, my only primary complaint is the seemingly over-the-top language spouted by Ma and Pa Kent in the Superman bit–that just seemed so shoe-horned in/exaggerated that it didn’t ring true at all to my reading…despite the fact that Byrne was the one that did the early work on the Kents being alive into Clark’s adulthood and seeing him be Superman.

The end of this issue–and ostensibly the “story arc”–seemed a bit quick and almost too-tidy as a wrapup, with some exposition trying to suggest this could never happen again, Lazarus rather quickly coming around about the truth of it not actually being his son truly in the computer, etc. Echoing comments I made with one of the other chapters, this is very much from the era when it was relatively RARE for a collected volume to be put out, with only the biggest, most sold-out stories getting a volume. This was still single issues as the primary focus…such that I don’t even know what to call this four part story. With issue names like “Level 1,” “Level 2,” “Level 3,” and “Game Over,” I suppose it COULD be called Game Over (and probably would with a modern-day collection put out), but there’s no overall title, of which the names would (with a contemporary 2016 comic) would be “sub titles” within the arc’s title.

For an 80-cent overall cost to me for Wonder Woman #s 109-112, this was absolutely a real treat to read, and leaves me confident in the fun nature of Byrne‘s run on the title, and very much interested in carving out some more time (eventually) to read this series at length…along with the likes of the Wally West Flash series.

If you find these issues–this one, or the previous several–they’re definitely well worth bargain-bin pricing (up to $1ish each), as the four issues at even $1 would be the cost of a single current issue…and this story is more than worth the price of a single current comic. As this is not actually part of some large, singular overall story, one could even conceivably dive in here, with the majority of what you need to know being that Wonder Woman’s engaged in battle with fake-Doomsday, and how things go and get wrapped up. The stuff with Lazarus and his wife/companion even give what would seem to be enough context and exposition to let one “get” the basics of what is–and has been–going on to get to this issue.

Filed under: 2016 posts, 2016 Reviews, The '90s Revisited | Tagged: , , , , , , , , , , , , | Leave a comment »

The ’90s Revisited: Wonder Woman #111

Posted on June 10, 2016 by Walt

wonder_woman_0111Level 3

Writer/Artist: John Byrne
Colorist: Patricia Mulvihill
Assistant Editor: Jason Hernandez-Rosenblatt
Editor: Paul Kupperberg
Published by: DC Comics
Cover Date: July 1996
Cover Price: $1.95

This is the third issue of a story, and we pick up shortly after where we left off in the previous issue. Doomsday is on a rampage in Gateway City, despite the fact that–to the best of anyone’s knowledge–the creature was hurled into space some time back, never to return to Earth. As the creature tears up real estate, Wonder Woman is brought into the mix–interrupted from the advisory assistance she’s receiving in identifying the substance the fake-Flash and fake-Sinestro were made out of. Even realizing this is the creature that KILLED Superman, Wonder Woman doesn’t hesitate to engage it in battle. While taking her lumps, Champion joins in–though he takes a Supergirl-like hit that takes him out immediately. Seeking to aid her mentor, Cassie retrieves the Sandals of Hermes as well as an unknown artifact and goes to Wonder Woman’s aid. When she’s hit–and nearly killed–it distracts Wonder Woman enough that the beast gets the upper hand, and it looks like this might be game over for our heroine.

Three issues into the story and I’m enjoying stuff…and actually had to “force” myself to NOT dive straight into the next issue. I’m enjoying this story, the art’s good, and I just want to get more of everything. See more of Wonder Woman in action, see more of Cassie and get details of her background, as well as see more of the rest of the supporting cast–Cassie’s mom, Mike, Champion, Wonder Woman as Diana NOT in action…three issues in and this is simply flat-out an enjoyable book!

I had no idea just from the cover what the context of Doomsday’s presence was, but now having read the preceding issues and this one, the creature is a construct created by a computerized process controlled by the “consciousness” of someone’s son. The “clones” are created and programmed, and then let loose on the world, though Kris–who apparently died, but his consciousness was “saved”–can see through the constructs’ eyes. Even though it’s a “fake,” this Doomsday is quite powerful, and not “just” some run-of-the-mill villain, showing up and totally diluting the character. Flash-forward twenty years to present day, and the character is just another of Superman’s rogues–like Darkseid or Mongul. But in 1996, this was before The Doomsday Wars, so Doomsday itself was still an extremely rare villain to actually (or seemingly-actually) show up.

I like the cover (obviously), even though Doomsday is a bit “off” in appearance. This fits with the story, though, and so I can forgive it quite easily. There’s also something rather gratifying about seeing John Byrne handling the character–both from the writing side, and even moreso from the art side, as so much of the Superman mythos at the time of the Doomsday! / The Death of Superman was still closely, tightly tied to the foundation work laid out by Byrne during his tenure on the Superman titles.

This story started with level 1–The Flash, a hero–apparently accidentally causing damage. It continued to level 2 with Sinestro, a villain–causing damage but not outright killing anyone. Then on to level 3 with Doomsday and untold damage and destruction and death. Wonder Woman is facing one of the most powerful things she’s ever faced, and this issue ends trying to convince us of the bad place she’s in…but it’s a comic, it’s #111 where I know the series passed #200, and I don’t recall any other major “Diana-gets-replaced” type stories, so it’s a given she survives. Still, she and her fellow fictional chracters don’t know that as this ends, so it’s on to the next issue to see what comes of this build-up!

And once again, as noted before…EVEN THOUGH this is the third issue of an arc, it still reads like one could pick this up and be no worse off than I was reading the first part of the story. You’re thrust into the action, get a bit of context and new action, and a cliffhanger to lead to the next issue. One story, but each issue could pretty conceivably be someone’s first without them being as totally lost or “coming in mid-story” as one would be picking up the third issue of a present-day arc.

Filed under: 2016 posts, 2016 Reviews, The '90s Revisited | Tagged: , , , , , , , , , , , , | 1 Comment »

REBIRTH WEEK 2: Action, Detective, Flash, Aquaman, and Wonder Woman

Posted on June 9, 2016 by Walt

This week gave us three new Rebirth issues–serving as starting point, prologue, and #0s for newly-relaunching ongoing books…as well as the first issues of two ongoing series: Action Comics and Detective Comics, doing the opposite of expectation and instead of a fresh #1 for either title, leap back to their “legacy” numbering–adding their past 52 issues onto their last pre-Flashpoint issue, bringing the books current as if they’d never been renumbered.

And while it may not be the best technical term, my overall feelings after reading the week’s issues lead me simply to the sentence “Holy crap! DC‘s comics are awesome again!”

ACTION COMICS #957

actioncomics0934I couldn’t contain myself to just a few basic comments…I absolutely loved Action Comics #957 and wrote up a bunch of thoughts on it separately.

Like…I thoroughly enjoyed the issue.

It’s the best single-issue Superman comic of one of the ongoing titles I can consciously recall as of this typing.

It’s like re-united with an old friend not seen in years, and realizing that even though life has gone on, we’ve grown and changed, what we had is still there.

Fantastic story.

Fantastic art.

A mere twenty pages for “only” $2.99, and just this issue alone made me smile, and feel like a kid again, and I really, truly am looking forward to the next issue. I walked away for four years. With an issue like this, such a strong start like this, it sucks that I have no choice but to WAIT two weeks for the next issue.

DETECTIVE COMICS #934

detective_comics_934I think I was originally intending to ignore this issue, this series. Unlike with the Superman books, I’ve been a lot more flexible in my overall Batman collecting, with a much more punctuated “history” with the character and books. Then I was “only” going to get this because of deciding to throw in for the start of the Rebirth initiative, just diving in with “everything” for a few weeks, to really give it a chance. And for the first time since I can remember, I thoroughly enjoyed an issue of this title.

I have never cared for this Batwoman character, but here, as presented in this issue, I’m cool with it. I didn’t read the whole Gordon-as-Batman-and-then-Bruce’s-Return stuff nor any recent Justice League stuff, so I’m certainly missing a bit. I don’t much care for the black-bat-outlined-in-gold chest-logo, but I can accept it as the current, knowing that it’s a lot more cyclical than say, Superman’s S-shield.

I love that I get Tim Drake here, seeming very much like the character I’ve loved and appreciated nearly my entire time with comics. And as he started out without a solo title, appearing in the Bat-books…so here he’s “just” another character in a book with several characters. And while he has a double-R logo now–Red Robin instead of “just” Robin–it’s a great melding of new and old, and I’m happy with it at least for the moment. The use of Clayface and Spoiler as well lend interest for me, and I think I’m around for the next several issues at least…doing as a single issue should, I’m quite entertained and felt my purchase was worthwhile, and I’m actively looking forward to the next issue.

THE FLASH: REBIRTH #1

flash_rebirth_0001This is the first of these issues to really, directly reference and involve stuff that went down in the Rebirth one-shot, weaving stuff from that into the flow of this story, giving us even more on the return of Wally and setting his journey and Barry’s own as we head into coming books. While the art was a bit off-putting, seeming a bit more “artsy” than I’d prefer, it worked well enough in conveying the story, and I was never left wondering what’d happened in a panel or scene. It’s just not a visual style I tend to prefer (even if it LOOKS very New 52 Flash to me at a glance).

We have Barry, and get Wally, and get some real, direct expansion on stuff from Rebirth. This issue makes me really look forward to The Flash and Barry in coming Flash issues, as well as Wally’s own journey, and seeing how things go with Batman as well. I never used to think of Batman and Flash as being a good pair, but this issue shows me how that definitely works, beyond contrivances with an alternate universe story I’d had little idea would mean what it did half a decade ago.

Though this is a single issue and not a 6-issue mini-series, like its predecessor, I’m more interested in Barry than I was before reading, and am definitely looking forward to continuing adventures of the character.

AQUAMAN: REBIRTH #1

aquaman_rebirth_0001I’ve never been much of an Aquaman fan. I’ve been aware of the character, read plenty of issues of varying quality involving the character, dabbled in reading iterations of ongoing series with the character, but despite “potential” several times, just never got into the character. As such, by rights, I shouldn’t care to check this out, or to enjoy this issue all that much…but I checked it out, and enjoyed it, and I’m looking forward to seeing a bit more development.

That said, this is (for me) probably the weakest of all the Rebirth issues so far. It’s NOT bad, and the art is fantastic, and there’s a heckuva lot of potential for the series. But this one issue doesn’t do a lot for me…doesn’t change my take on the character, doesn’t infuse me with excitement and interest for the next issue…it’s just an issue serving as prologue to the initial arc on the officially-ongoing series (making this very much a #0 issue). Particularly when stacked up against the likes of Action Comics #957, the one-shot Rebirth issue itself, and my excitement toward several other launching-soon titles, this didn’t have much chance.

Another way to put it, though, I think would be this: Aquaman sits amidst some phenomenally enjoyable comics that are collectively serving as a breath of fresh air after years of really just flat-out NOT REALLY CARING, PERIOD about DC comics in general, and finding refuge in bargain-bin back issues. This issue is solid, introducing/re-introducing characters, status quo, motivation(s), and setting up what’s to come. I’m not disappointed at buying it. I just find the thought rather interesting that weighing the various issues out so far, if I had to “cut” any from purchasing, this would likely be the first. Still, I’m onboard for now, and it’s great to see the character in action and in a relationship, and coming off as a serious character, while there’s acknowledgement of the rap the character gets.

WONDER WOMAN: REBIRTH #1

wonder_woman_rebirth_0001Rucka on Wonder Woman again… yeah, that’s definitely a positive selling point for me. That this issue addresses and begins in its own way to ADDRESS discrepancies in the character’s origin and backstory, moving the story forward while not disregarding or throwing anything out goes a long way in making me want to read more. There’s a familiarity to the character in this issue that I really enjoyed, both narratively and visually. I recognize the character as one I’ve seen here and there and even read a bit in the Superman/Wonder Woman book for the New 52…but I also see something of prior iterations of the character as well–Rucka‘s run from around Infinite Crisis as well as stuff going back to Byrne, and even back to the beginning of the post-CoIE run with Perez.

While I’m “aware OF” something with Wonder Woman and her being the God(dess) of War now (from reading Superman/Wonder Woman), other than that, in my own reading experience, the character has felt largely defined as “finally” being Superman’s girlfriend…I’ve not followed the solo series, and so have only really seen much with the character when it’s involved Superman.

Here we get a character that’s very much her own, in an issue whose story is strong in how it shows the character and in acknowledging mixed versions of her origin and backstory. The art is solid and I like it overall…despite the way the character could easily be conveyed, I feel like the character radiated independent strength that leaves me wanting to read more and see more, without it being tied to how she looks.

The familiarity from having Rucka back on the character’s title is another positive, and a key factor for me to just stick around, trusting from the past that this is gonna be a great ride.

Three weeks in…and still enjoying stuff, still greatly enjoying the fact that for the first time in years, the DC Unierse feels like “home” again, that I’m as interested in the “universe” as I am individual characters or a couple individual titles.

I know the quality won’t hold–I can’t imagine any line could–but this whole push is just SO refreshing that I’m enjoying it, and “on the hook” for at least the next seven or so weeks and ready to add another 4 to that!

weekly_haul_week_of_20160608a

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The ’90s Revisited: Wonder Woman #110

Posted on June 8, 2016 by Walt

wonder_woman_0110Level 2

Writer/Artist: John Byrne
Colorist: Patricia Mulvihill
Assistant Editor: Jason Hernandez-Rosenblatt
Editor: Paul Kupperberg
Published by: DC Comics
Cover Date: June 1996
Cover Price: $1.95

This is only the “second” issue I’ve read in this particular set of issues, but I’m quite enjoying the title. Where the previous issue appeared to guest-star The Flash (only it turned out to be a fake), this issue has an appearance of Sinestro–who at this point in DC‘s continuity was dead, his neck snapped by Hal Jordan just before he went all Parallax and such.

We open on Sinestro/not-Sinestro carving up the city, trying to get Wonder Woman’s attention. Once he has her attention, they battle–or moreso, Wonder Woman battles him, and he just keeps on keeping on…at first seeming like a joke, then an actual-true threat. Eventually, it appears that Wonder Woman’s defeated, and a new guy–Champion–shows up, saving her…though he gets the same result from “Sinestro” as Diana had last issue with “The Flash” as we see that this is just some sort of construct that can self destruct into dust. While Champion (who has himself a back-burner subplot brewing that surely leads to something bigger down the road) and Diana puzzle over the similarities in the Flash attack and now Sinestro, as readers we’re given the inside scoop, as the scene shifts and contextual details are revealed…explaining the fakes’ presence and setting things up for the next couple issues.

As with the previous issue–Wonder Woman #109–I definitely enjoyed this issue. The story and art both worked well in and of themselves, and especially as a cohesive whole. With the same creative and editorial team as the previous issue, this definitely FELT like the next issue. No major changes, no weird oddities…it’s just the continuing story.

Perhaps by comparison to contemporary comics, though, this issue does NOT pick up 100% EXACTLY from the previous issue…it picks up as a “next chapter” without being merely the next chunk of story in a larger graphic novel being ‘serialized’…and I actually like that. I’m all for the singular story of a graphic novel…but for this being a “single issue” I like that–even as a continuing story–it maintains its identity AS the single issue.

The story in this issue fills us in as readers much more than the previous issue…this is where comics worked quite well in the ’90s as both ongoing sagas and having stories that can be collected into a “graphic novel” or such. We (I) had no idea any background on stuff in the previous issue–The Flash simply showed up, turned out to be a fake, and we’re left to wonder what the heck’s going on. THIS issue gives us the context and such on where not only The Flash but also Sinestro came from…and goes beyond that to show us the genesis of the threat for the next issue, serving as setup and cliffhanger, and getting to the last page left me quite ready to get to the next issue. Of course, it wasn’t surprise, as it’s the cover of the next issue that grabbed my attention to begin with.

Even though this is Level 2, a second chapter of a story (though perhaps not quite as solid/singular a story as I’d thought–though it plays into the genesis of these back-from-oblivion characters), one could conceivably pick up this issue and be just as good as starting with the previous issue. You get the characters, some context as you go through, and editorial notes to point you where to go for a bit more expansion of stuff touched on here.

It’s also EXTREMELY REFRESHING that there’s just the one cover, it’s (presumably, since there’s no separate cover credit provided) by the interior artist, so fits both visually AND exaggerates (slightly) a scene that actually appears in the issue, and is not merely some stock or “iconic” image that could be interchanged with any other cover.

First issue, Second issue (in this present read-through, it’s MY second), or just another issue if one is reading a run, this is a strong, solid issue well worth the 20 cents I paid for it!

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The ’90s Revisited: Wonder Woman #109

Posted on June 1, 2016 by Walt

wonder_woman_0109Level 1

Writer/Artist: John Byrne
Colorist: Patricia Mulvihill
Assistant Editor: Jason Hernandez-Rosenblatt
Editor: Paul Kupperberg
Published by: DC Comics
Cover Date: May 1996
Cover Price: $1.95

This is one of those ’90s issues that–while revisiting “the ’90s,” is a new-read for me. I’ve dabbled here and there through the years with this book–getting the odd issue because Superman’s on the cover, or something tied to a comic book course in college, or some cover grabbing my attention or there’s a chapter of a crossover I’m following. I jumped on the book toward the tail-end of Rucka‘s run in the lead-up to Infinite Crisis, and then followed for a few issues shortly after, but never stuck with the book for all that long. So while I can’t recite lists of characters–particularly the supporting characters–I’m at least “loosely familiar” with who Wonder Woman is, that the exact “who” she is has shifted a bit through the years, and I know OF some of the major story beats of her series.

So this issue opens with a flight passing over Gateway City, where the Lexair passengers are surprised at the random sight of a girl flying with winged shoes. As readers, we quickly learn that this is Cassie Sandsmark and those are the Sandals of Hermes, and she’s not exactly well-practiced in their use yet. Wonder Woman flies after, and the situation is soon resolved as Cassie figures out–a bit–what she’s doing, and the two get back safely to the apartment Cassie and her mom live in. They then prepare for an evening–Cassie is under Wonder Woman–Diana’s–care, and Diana has a “date” that’s not a date. Unfortunately, the Flash shows up and causes a lot of destruction to the buildings along the street the restaurant’s on and more than a little trouble for Wonder Woman. This isn’t Wally West, though, and when he bursts into dust, no one has any idea what he was or why he was there…leaving Wonder Woman with a mystery on her hands.

I bought a 50-issue run of this series, and one cover that REALLY stood out to me had some iteration of Doomsday on it, which had me quite curious–it’s not an issue I was ever consciously aware of back in the day, nor was it something I knew of AS a Doomsday appearance. Fortunately (or not, depending on perspective) I noticed the “title” of the issue included a “3,” so I checked the previous issue–that had a “2,” so I went back another issue–this one, #109–to find the “1.” I have no idea what happened immediately preceding this issue, nor do I recall what happens after. I’m nearly entirely certain this is AFTER “the Artemis” stuff when Diana ceded her role as Wonder Woman, so she’s “back in the role” now and things are moving along at a good clip.

Story-wise, we’re dropped right into the action, with no immediate context–just story. Being somewhat aware of stuff, I followed along without any trouble. I did not open the issue expecting to “know everything,” and so I was not disappointed. It’s like watching an early episode of some tv series from SEVERAL seasons earlier. I’d forgotten Byrne‘s run on the title, or that it was this early–what I DID remember made me think he’d started on the book more in the early 2000s, so that shows what I know.

Visually, I really enjoy his art here. It works very well with the story, and both Wonder Woman herself and the Flash look good…though through no fault of the art, Cassie does NOT look like I think of her from Geoff Johns‘ Teen Titans run…which makes sense, as this is from 1996, predating Young Justice by a couple years, and Young Justice itself ran several years before Teen Titans.

All in all, for an issue I had not planned to read, but ended up reading for momentary/immediate ‘context’ to the issue that actually grabbed my attention, I really enjoyed this, and look forward to progressing a couple more issues to the one I actually originally planned to read. This also bodes well for my enjoyment of the run, and of (eventually) filling in the gaps in my Wonder Woman run from the Perez “reboot” through Infinite Crisis.

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The ’90s Revisited: Uncanny X-Men #308

Posted on May 27, 2016 by Walt

uncanny_xmen_0308Mixed Blessings

Writer: Scott Lobdell
Penciler: John Romita Jr.
Inkers: Dan Green, Al Vey
Letterer: Chris Eliopoulos
Colorist: Steve Buccellato
Editor: Bob Harras
Published by: Marvel Comics
Cover Date: January 1994
Cover Price: $1.25

This issue brought back a number of fond memories, as well as a new feeling as I “noticed” the art rather consciously this time. Having this issue relatively on-hand for this reading is something I must credit to fellow blogger Chris Sheehan, whose comments/discussion of the issue prompted the purchase and encouraged making the time for the re-read. It was his post that prompted me to re-purchase the issue (for the convenience of immediate availability in print without digging through umpteen unorganized longboxes to locate my original copy).

For a single issue, there’s a lot packed into so few pages. Essentially, though, we have Scott and Jean–Cyclops and Phoenix–walking the grounds outside the X-mansion. For once, there’s no overt threat, no villain interrupting, the world-at-large doesn’t need immediate saving, etc. Just a young man and woman spending time together, enjoying cool fall weather (well, Thanksgiving Day) and doing so amidst a larger group also living on the premises. So we get a bunch of “moments” between characters…and while the couple reminisces, they also come to a decision about their future.

This issue is one of a handful of X-Men comics I recall from the early/mid 1990s where we basically just have the characters hanging out at the mansion, interacting with each other in down-time withOUT having to deal with some villain or crossover or whatever. And reading this in 2016 where every story is written for the trade, and every trade is part of some big event and every event leads into the next with no time between…this issue is highly refresshing. There just aren’t issues like this anymore (at least not from Marvel/DC!).

The story itself is very much what I prefer in comics, giving us the characters, “quiet” “moments” and generally giving us a glimpse of what these characters do, how they might interact when not in the midst of fighting for their survival. We get to see them presented as actual people…which makes them that much more truly relatable (at least, to me!).

I remember thoroughly enjoying this issue over 20 years ago…and I enjoyed the story now. Unfortunately, while I don’t recall noticing the art–back then, if I did it didn’t throw me–but this read-through I REALLY consciously noted the art…and between this and bailing on a Superman story some time back for so disliking the art, I must conclude that as a general thing I dislike Romita Jr.’s visual style. There’s something to the style–sometimes a sense of sketchiness, other times something to faces and lips particularly that just doesn’t work for me and proved flat-out distracting to me, taking me out of the story itself. Which, while a complaint that I have, myself, is not to suggest the art is bad…it’s just definitely not to my taste, and it now being a conscious thing, it’s something I can watch out for.

And then, regardless of the linework and such itself, I had consciously forgotten (but hey, deja vu or such!) how much I dislike the flipping and flopping one must do to read certain ’90s comics, when the artists played fast ‘n loose with the “traditional” comic page and layouts. Some pages read fine, but rather than just varying panels across one or two pages, where one can just page through the issue with a single physical orientation and be fine…here, we’re given some instances with a double-page piece where you have to turn the comic sideways for a top-to-bottom experience with the issue physically turned sideways; others where the issue must be turned on its side for a then-typical left-to-right experience, and so on. Rather than being able to just lay the issue flat and page through, reading, while say, eating a bowl of cereal as breakfast it requires an active, physical experience of manipulating the book, which gets distracting and kicks one out of the story.

All in all, though…this is an excellent X-Men comic that I paid less than $4 for, and got so much more from it than any $3.99 new comic I can think of. If you know your X-Men and enjoy such stories, or have never read this, I’d urge you to give it a shot, if you can get the issue for (or less) that $4. If you find it in a 25-cent or 50-cent bin, all the better!

Filed under: 2016 posts, 2016 Reviews, The '90s Revisited | Tagged: , , , , , , , , , , , , , , , , , , | Leave a comment »

Spawn #263 [Review]

Posted on May 23, 2016 by Walt

spawn0263Plot/Script/Layouts/Pencils/Inks: Erik Larsen & Todd McFarlane
Color: FCO Plascenscia
Lettering: Tom Orzechowski
Cover Art: Erik Larsen
Editor: Todd McFarlane
Published by: Image Comics
Cover Date: May 2016
Cover Price: $2.99

While I’ve no idea how long I’ll stick with it, Spawn is presently on my pull list, at minimum as my tiny individual way of trying to support both "high/continuous numbering" and the $2.99 price point. This is my seventh sequential issue that I’ve picked up…which may be a record for me now, or at least close to matching any previous time I’ve tried to follow the title.

Spawn–or rather, Al Simmons–has returned to Earth…human and normal (not disfigured)…and without his costume (despite the cover, more on that later). With only tatters keeping him from being fully nude, but still functionally naked, he finds himself gaining unwanted attention from the authorities. Resisting unwarranted arrest, he fights back and lands in the hospital for his troubles–having been shot and then bashed in the head. On waking and learning what his situation is, he requests Terry Fitzgerald…who despite relatable reservations helps him. Simmons gets set up for his new life, including the start to (presumably) a new iteration of a supporting cast and status quo.

The cover is quite misleading…we do not get Spawn–and certainly not in that classic sense–in this issue. Nor do we get an Al Simmons surprised at being human. That said, for one of extremely FEW instances in my life and as a comic person, it’s misleading because I’m actually "up" on this title. Much as the cover for #257 grabbed my attention (which started this whole current "phase" for me), I can see how this cover could be rather attention-grabbing and pique the curiosity. There’s also something kinda familiar about it–I’m not sure (nor am I planning to research the matter) if it’s an homage piece or just kinda evokes a bygone age of comic covers.

Of course, I’m quite enjoying Larsen‘s work–both the cover(s) and the interior art. Things one expects a comic’s art to do are done, and the visual style works well for this title. It "looks" and "feels" like Larsen art–it’s immediately recognizable to me as such, and I like it here.

Story-wise, I’m still far from being particularly "familiar" with characters (I had to do a quick Google search to confirm that Terry is indeed the guy Wanda married and such), but I’m enjoying the reading experience. This issue feels a lot like a "first issue," and functionally could VERY well warrant a "new #1" (and truly, many Many MANY Marvel books have "rebooted" or "renumbered" for far, far LESS a shift than the game-changing status quo we begin here!).

The backmatter backs this up…though I was disappointed at how "quickly" I got TO the backmatter of the issue. There’s no marking at the final panel of the issue, the final page of the story content–nothing saying "To Be Continued…" or any such, nor is it particularly cliffhanger-y. But darn it, I’m actually really eager to see where things go from here, how Simmons deals WITH his new status quo, how he gets back into the action and what this all means. The cynic in my worries at the shakeup being temporary…but even if it is, I have a bit of faith that it’ll at least last a few years. Simmons was gone from the title for some 65 issues–on a standard, unbroken monthly schedule of 1 issue every month on the month, that would indicate nearly 5 1/2 years. So I’m fairly confident that this status quo ought to take us to (if not through) #300 and/or beyond.

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