iZombie – Where Do I Start

iZombie – Where Do I Start

I’d seen all of the iZombie issues at the comic book store since the series began in July of last year, but having flipped through a few of them and found the art to be absolutely terrible, I’d always decided against reading the series. That isn’t to say that I can’t appreciate a good story regardless of the art, because I obviously can, being a writer. However, bad art in a visual medium really puts me off. Still, when I read that it was nominated for a Will Eisner Comic Industry Award for Best New Series, I decided I should give it a shot. I picked up eleven issues putting myself completely up to date, able to not only give the series more than a fair chance if it needed it, but also to give myself a strong foundation for this feature. Sadly, getting through all of these issues was an exercise in patience, disgust and determination (to get my money’s worth). And for the record, that disgust was not a pleasant disgust in the brain-eating content, but rather disgust at the fact that such tripe is actually published and given a nomination for Best New Series. THAT, more than anything else, is what bothered me about reading this series. iZombie is the story about Gwen Dylan, a zombie. Bet you didn’t see that coming. Obviously, writer Chris Roberson is trying to capitalize on the whole “i” craze, however it makes little to no sense to use it in this context. But I digress. Gwen works as a gravedigger, which is quite convenient. Not to mention cliché. Once a month, Gwen must dine on brain matter, otherwise she will turn into a stereotypical, brainless zombie… the kind that Shawn would have thrown old vinyl LPs at. So she digs up corpses which she’s recently buried and cracks open their head with a pretty, red spade. The only problem, other than the taste apparently, is that in so doing, Gwen absorbes many of the deceased’s memories. This leads her onto journeys to resolve issues which the deceased never got a chance to take care of prior to dying. In some cases, the deceased’s murderer still roams free, and Gwen takes it upon herself to confront this person. Apparently once you’ve already died, you no longer need backup… or common sense. If all of this is not cliché enough for you, how about we toss in a ghost girlfriend from the 50s. Or perhaps a were-terrier. You read that correctly. Not werewolf. Were-terrier. Still not cliché enough for you? Well hell then, why don’t we add vampires, mummies and what would this all be without Monster Hunters! I know what you’re thinking. Roberson would not possibly have Gwen fall for a Monster Hunter. That would be too much for even the most forgiving of clichéd, melo-dramatic, teen zombie fans to endure. I am sorry to report that yes… they do fall in love. They bump into each other a few times, an immediate spark in their eyes (of course), and even spend a “perfect” date together, finding out that they are in fact, soul mates. (By the way, click that link to see an example of some of the absolutely terrible art that you can expect to find in this series.) Over the course of the eleven issues I read, Gwen had to eat a couple brains. Roberson is using this as a means of keeping the series alive (bad pun), however it’s a tired mechanic which we’ve seen all too often. As such, I’ve absolutely no interest in any of the extended characters which Gwen forces herself to speak to in order to quiet the voices in her mind. The series also spends way too much time on the vampire college girls. It’s as if Roberson wants to try to attract as many emo-vampire readers as possible by filling pages with attractive college girls with sharp teeth. And just in case that doesn’t cover all the bases, he also tosses in the Bride of Frankenstein and a possessed chimp. (Editor’s Note: I am massaging my temples as I type this.) There is absolutely no clear course in this series. It is all over the map, and with each turn, more stupidity slaps you in the face. And then there’s the aforementioned art. I have seen better art from junior high school students. With the exception of a few panels, the entire series to date has been this bad. The art is very simplistic, though not stylishly so. It also appears to be colored with pencil crayons in some panels. I doubt it was. I’m just saying it actually looks that bad in some cases. Sadly, colors and shading are just as pitiful as the original pencils and inks. In some instances, facial proportions are completely out of whack, which leads me to wonder about Michael and Laura Allred’s art education. It is possible that the work is rushed, simply because they do not have the time required to make it better. If that is the case, then there’s not much that can be done to improve upon it. I tried to think of a lot of ways to approach this review wherein I could provide more constructive criticism, however the only critiques I can offer would be to replace the art staff, get a new writer who isn’t so hell-bent on clichés, trim the story to a manageable arc that’s tight and interesting, and change the name of the series to something that actually makes sense. Then I realized my constructive critique was basically to start from scratch. iZombie Vertigo/DC Story: Chris Roberson Art: Michael Allred, Laura Allred...

Fables Issue 100

Fables Issue 100

Nominated for a Will Eisner Comic Industry Award in the Best Single Issue (or One-Shot) category, “Fables” issue 100 was the first title I read that I simply did not feel belonged on the list of nominees. I will readily admit to not having read any prior issues, however I do not believe that had any impact on my decision. Based on the fact that the series contains existing (well-known) characters, as well as the fact that it was nominated as a single issue, I feel that a sound opinion can be made having only just read this issue. “Fables” issue 100 contains several short pieces, as well as a puppet theater. Yes, you read that correctly. Here is a complete list of the contents: • Single Combat • Pinocchio’s Army • The Fables Paper Puppet Theatre • The Perils of Thumbelina • Celebrity Burning Questions • A Thing With Those Mice • Escape to Wolf Manor The issue begins with a lovely image of Three Blind Mice discussing the definition of the word “duel”, setting up the first, and main, story. The mice break the fourth barrier in this single panel, by making reference to the “issue” that they are in. “Single Combat” is written by Bill Willingham, pencilled by Mark Buckingham, inked by Steve Leialoha and Andrew Pepoy and finally colored by Lee Loughridge. One would think that with so many people working on it, I would be more impressed. However, I am not. I’ll get to the story shortly, however in terms of the art, I must admit to being completely underwhelmed. Perhaps it was their intent to recreate a style reminiscent of old fable comics from decades ago, however I wasn’t a fan of that style then, and that opinion has not changed. The story contains several concurrent plot-lines, and though they converge at points, I still found the manner in which they were handled somewhat clumsy. The main part of the short story of course is the battle between the witch, Frau Totenkinder, and Mister Dark. Having once been contained within a box in issues prior, Mister Dark was unwittingly set free. Totenkinder intends to contain him again. The battle between the two is full of conjurations, be they shadows, boxes or fish (yes… fish), shapeshifting, and the likes. If you were reading this to a child, perhaps they would be entertained by Mister Dark being force fed sugar in such large amounts that it causes his teeth to fall out, however an adult may be far less interested. In the end, Totenkinder transmutes thousands of gold pieces into an armor meant to contain Mister Dark. Seeing as he is allergic to gold, it seems the smartest type of box to use. Would that this had been the true focus of the story, perhaps it would not have felt so disjointed. However during this fight, we have pages which flash to Fabletown, where the fight is being announced and discussed; we see “real” police in New York City preparing to take action if the fight spills outside of the old Fabletown area; and we’ve the sheriff’s wife who is having labor complications… not to mention the altercations with Nurse Spratt. Even when you think it’s all done, cracks begin to appear and Fabletown is turned on its head once more. Sadly, I just did not enjoy this story at all. Having spent countless hours reading fables to my children, I can honestly say that I’ve no prejudice against this type of story. However, they must be properly told, and in this case, I simply do not feel they were. Next we have the short story, “Pinocchio’s Army” which spans eight pages. It is written by Mark Buckingham with several illustrations by Bill Willingham. With lines like; “(Pinocchio) hew that Internet porn and an expresso machine were things he would have to live without for now”, you are not likely to read this story to your children any time soon. The story sees Geppetto’s creations (children) worried about the old man. He has grown quite sullen, and it is up to Pinocchio to cheer him up, which he does by presenting him with a suitcase full of toy soldiers, which Geppetto had once crafted years before. Once again, I’ve a problem with the writing in this short story. This may simply be a personal preference, however I found it far too descriptive. When you are limited by a restrictive word count, you don’t want to waste paragraphs setting the stage, when instead you can be furthering the story. Also, I found Buckingham’s pace extremely slow at times. For a story this short, I should have been able to easily read it through in one sitting, however I found myself “zoning” out often, and it took several readings for me to actually finish it. After this short story, we find the Puppet Theatre, where readers are encouraged to cut shapes out of the comic book. /gasp Seriously. I would not even advise a child to do this. I know what they are trying to do here, but dear lord… cutting into a comic book?!? “The Perils of Thumbelina“, written by Bill Willingham, with art by Chrissie Zullo, is a complete and utter waste of three pages. The vignette shows a boy trying to ask Thumbelina out on a date, only to have a hawk (or falcon) drop from the sky and grasp her in its talons. As she is being whisked away, she says; “Well… this is certainly turning out to be a lovely day”. No. Really. I’m not making this up. As disappointing as that was, it paled in comparison to the illustrated answers to reader questions, such as; Who makes the Fabletown comic books; Can I have Snow White’s phone number, and; Now that Baba Yaga is dead, how is Bufkin passing the time? The only story which I found mildly amusing was the last one; “A Thing With Those Mice“, also written by Bill Willingham, with art by Joao Ruas. As a point of interest, Ruas’ art is absolutely stunning, as opposed to most of the art in this issue. The vignette is quite simple, which is hardly a surprise. It depicts the Three Blind Mice who are on their way to see the King, in order to receive their knighthoods… among other things. They, of course, get lost and proceed to walk into the open mouth of a beast… whom you find out will in fact spit them out once he’s had a bit of “fun with them”. There’s really not much else to say. The issue ends with a board game entitled; Escape to Wolf Manor… yet another example of the writers misunderstanding the medium. Comic books are meant to be read, not cut apart and played upon. Some argue that this issue is meant for children, who are more likely to want to decimate their comic books for the sake of a few quaint moments with a puppet theatre. However to those I would argue, if this issue truly were meant for children, there would be no mention of pornography by Pinocchio, nor bestiality by Lily Martagon in the reader questions. I just don’t understand why this issue was nominated for an Eisner. In and of itself, it is not a good issue. I don’t feel it is deserving of a high review score, let alone an Eisner nomination. When compared to “The Cape“, I fail to see what was going through the judges’ minds when they agreed to give “Fables” issue 100 a nomination. I only hope it does not win, as that would be an insult to all the other nominees. “Fables” Issue 100 Vertigo/DC Stories: Bill Willingham, Mark Buckingham Art: Bill Willingham, Mark Buckingham, Dan Green, Lee Loughridge, Joao Ruas and others...

Joe the Barbarian

Joe the Barbarian

As with “The Cape“, I hadn’t heard of “Joe the Barbarian” until the list of nominees was released for the Will Eisner Comic Industry Awards that will be awarded at Comic-Con 2011. And just as with “The Cape”, I certainly am glad to have read this amazing title. You may be thinking that I’m being far too agreeable with the Eisner list of nominees, and I can assure you, that is not the case. Expect forth-coming, harsh reviews of titles which I feel have absolutely no business there. That said though, when I read something listed which so thoroughly impresses me as “Joe the Barbarian” has, expect that I’ll lavish all manner of compliments on the writer and artist responsible; Grant Morrison and Sean Murphy, respectively. At its heart (which it has an abundance of), “Joe the Barbarian” is the simple story of a diabetic boy who is going into shock. He must get from his bedroom in the attic of his home, to the kitchen on the main floor to get some form of sugar (he mentions having to get a soda often). During this tenuous journey, he experiences hallucinations. In Morrison’s adept writing hands, this simple premise turns into an epic 8-part mini-series which sees Joe joining imaginary beings in a life or death struggle. The story begins very slowly. Some people had a problem with the first issue, however I thought the pacing was actually spot on. We get to see Joe’s relationship with his mother, find out about the death of his father and the family’s financial troubles. We see the resentment which Joe holds toward his father, as well as see how this has affected his character and his ability to interact with other kids his age. All of this is done quite well, and you are able to read volumes between the lines. Morrison’s writing impressed the hell out of me in those early pages, as this is something which I work at in my fiction; the ability to impart so much more than the few words used. Then, Murphy took over, and completely blew my mind. Having seen that Joe is a very reclusive boy, showing his home in detail and his relationship to it was absolutely vital to the story… and Murphy handles this beautifully with silent panels of Joe walking through the home to his bedroom in the attic. These pages are draw in such intricate detail that the reader is able to recognize a variety of the objects in each room. This is so absolutely important, seeing as the house is also the setting for Joe’s hallucinations, though it is warped and skewed and misrepresented by fantastical settings. Some of the details change during the hallucinations, however not enough that you are ever lost. Morrison also makes certain to keep you from getting lost, by jerking Joe back and forth between his actual struggles and his lucid hallucinations. However the two are never entirely separated. Within his hallucinations, Joe keeps imparting how important it is that he get to the kitchen to get a soda. He is able to sometimes rationalize where he is in relation to where his physical body is in the actual world. Meanwhile within reality, Joe speaks to his pet rat, Jack, who plays a very important role in the story. Having lost his father, Jack is a life which Joe clings to. As you can see from this image, Murphy does not hold back on his 2-page spreads… and there are a great many of them in the 8-issue series, each as glorious as the next. Dave Stewart also deserves a lot of credit for his incredible coloring job. He seems to capture the mood of each issue… each panel so perfectly. Whether Joe is in his home, the colors fading over each issue with the passing of daylight (an integral part of the hallucinations, by the way), or he is in an underground sewer where the dwarves live, Stewart’s coloring of Murphy’s art always manages to impart upon you a sense of how you should be feeling. It’s not overpowering, however it does guide your emotions by means of visual cues. While the first issue was nearly all character and location setups, issues 2-8 are all action. As such, this would be a very difficult series to begin partway through. No mini-series is intended to be read out of order, however some are easier to pick up and try (leading to you to read the entire series if you enjoyed a single issue). That’s not really an option with “Joe the Barbarian”. You need that first issue to make sense of the whirlwind which ensues. Without that, you will most certainly be lost. That said though, I do not hold that against the series or Morrison. That’s like blaming a novelist because a reader has picked up their book, started a third of the way in, and complained because they didn’t understand what was happening. Crafting Insanely Cool Hallucinations As if dealing with so much innocence lost wasn’t enough, Joe is also forced to confront all of his underlying issues in the form of animated toys, a brother-in-arms who just happens to be his pet rat, and more importantly a long-standing prophecy which states he is the “Dying Boy”… complete with mosaic portrait. Despite simply wanting to get a soda so that he doesn’t die, Joe is thrust into a quest to save this fantasy world by defeating King Death. In the real world, the house’s electricity is off, and Joe must head to the basement to flip a breaker switch. Having lived in an old home, I can attest to having had to flip breakers on a regular basis. As the sunlight descends, it brings with it all manner of imaginary nightmares for the inhabitants of Joe’s hallucination to deal with. Some, like her Majesty, Queen Bree, rely on batteries to provide the light which they need, however even within the confines of his imagination, these characters know that the batteries will not last forever. Queen Bree is also known as the High Widow… Joe’s mother. I love how Morrison blended characters from Joe’s life, his imagination and his toys to produce such a vast, diverse cast. Among others, Joe crosses paths with a variety of his action figures, some pissing arms or legs. There is something unbearably hilarious about recognizing some of these, including ol’ Bats himself… whose head pops off during one of the epic battles which occurs later in the series. Nearing the end of the series, Joe is forced to decide whether he wants to leave the hallucination or save those within. He chooses to defeat the darkness first, which leads him to the basement where he comes face to imaginary face with King Death. What ensues is a battle which other comic book creators should look to for inspiration when crafting battle scenes. Jack, who had just recently gone toe-to-toe with an insane, feral dog… … and seriously… take a good look at this screenshot. Murphy and Stewart should win an Eisner based on this alone. Upon entering King Death’s lair, all seven of Jack’s slain brothers are resurrected to fight as King Death’s minions. I won’t spoil any more of the battle, as part of the excitement is reading it firsthand. That said, it is important to note that the true measure of how incredible the resolution is, is in the fact that it transcends both Joe’s hallucinations and his reality. In the end, it is simply a hallucination. He is fighting for his survival in both realms, however the very real soda in his hands is the only true resolution. Morrison understands that, and doesn’t treat his readers like idiots. Still, he finds a way to make what could be a very mundane ending into something which, if you’ve allowed yourself to get sucked into the series, will cause the hair on your arms to rise. You’ll let out a silent cheer for Joe, and feel truly satisfied with the manner in which it was handled. In real world terms, the resolution is actually immensely important to Joe. Joe the Barbarian is nominated in the Best Limited Series category for the Will Eisner Comic Industry Awards. I will be reading several of the other nominees in order to assess which I believe was the strongest this past year. I can say with certainty that I am very glad it was nominated. It is a spectacular series which I am looking forward to seeing turned into a feature film. The rights were picked up last year and I can see how, in the right hands, it could produce an insanely cool movie. In addition to the Best Limited Series nomination for the series, Dave Steward was nominated for Best Coloring for his work on Joe the Barbarian as well as Hellboy, BPRD, Baltimore, Let Me In (Dark Horse); Detective Comics (DC); Neil Young’s Greendale, and Daytripper. Also, Jimmy Gownley was nominated for Best Lettering for his work on several titles, including Joe the Barbarian. I hate giving out arbitrary numbers for review scores, as they mean absolutely nothing, however just as a measure so folks can understand how much I appreciated this series, I would give it a strong 10 out of 10. And as much as I admit it’s an arbitrary number, I would not give it a perfect score unless it deserved it. I am very critical of that which I read and have no problems voicing my opinions. However when praise is deserved, I believe it should be given. Grant, Sean and Dave, thank you gentlemen for entertaining me last night, as I devoured every issue, unable to stop till the very end. And thank you for never disappointing me along that fantastic journey. Joe the Barbarian DC/Vertigo Story: Grant Morrison Art: Sean Murphy, Dave Stewart...

I Guess I Just Don’t Get It

I Guess I Just Don’t Get It

It’s widely accepted that the first Green Lantern trailer was disappointing. There’s a definite “Iron Man” feel to it, with Hal Jordan’s portrayal seeming less like the comics and more like… well, every other Ryan Reynolds character. I didn’t like it, though for some reason, many of my friends did. Well, this weekend at WonderCon, Warner Bros. showed off some new footage. First of all, the tone and story of the movie come across much better than in the first trailer. With so much of the movie being CGI, WB didn’t have much to work with for the first trailer, and had to use a lot of the Earth scenes. However, the thought that this trailer “makes everything better” is kind of pointless. All those stupid scenes from the first trailer are still in the movie, and we don’t know which “version” will have the majority of the screen time. For all we know, this is the entirety of the Oa footage, and the rest of the film is Ryan Reynolds making dick jokes. Visually, I just don’t like it. There’s entirely too much CGI; the whole movie just looks artificial. Obviously, a franchise like Green Lantern will require a large amount of special effects, but it still has to look at least remotely believable. The primary full-CGI characters like Kilowog and Tomar-Re look pretty good on their own, but as soon as you see them interacting with Ryan Reynold’s floating head, the effect is lost. Hal Jordan looks like crap. Abin Sur looks like crap. Sinestro looks like crap. All the “background” Lanterns look very crap-ish. Hector Hammond actually looks pretty good, since that’s actual makeup instead of CGI. And what the hell is this? A character whose powers are defined only by his imagination and his willpower, who can make literally anything a reality, from dinosaurs to Gurren-freaking-Lagann: How does he make use of his powers? He creates a BFG. Well, how else are you supposed to sell crappy toys to kids. At this point, the movie character is an amalgamation of all four Earth-based Lanterns; Hal Jordan’s origin, Kyle Rayner’s ugly costume, Guy Gardner’s attitude and John Stewart’s complete lack of creativity. Yet despite all these issues, everybody is raving about how awesome the movie is going to be. Even those who were most against it after the first trailer are already lining up to be the first to see the movie when it comes out. Honestly, I’m even less interested in this move now than I was before. I guess I just don’t get it....

Comic of the Week (3/16/11) – Grab Bag #2

Comic of the Week (3/16/11) – Grab Bag #2

It’s another “Grab Bag” week, this time focusing on SIX comics that I recommend for anyone looking for something new to read: Xombi #1 by John Rozum & Frazer Irving, Morning Glories #8 by Nick Spencer & Joe Eisma, 5 Ronin #3 by Peter Milligan & Laurence Campbell, Amazing Spider-Man #656 by Dan Slott & Marcos Martin, Avengers Academy #11 by Christos Gage & Tom Raney and Hulk #30.1 by Jeff Parker & Gabriel Hardman....

Should Batman Kill The Joker

Should Batman Kill The Joker

I haven’t had as much time to read comic books since stopping our comics podcast several months ago. It isn’t that I haven’t wanted to read specific titles, but rather that I’ve been working on several novels. I’ve read the two newest Guild Wars novels, which I will most likely write about soon, as I loved them so entirely… as well as the first in the Diablo: The Sin War trilogy, Birthright, which I’ve not yet finished as I find I have to muscle through various parts due to my dislike of Richard A. Knaak’s style. However I’m not here to discuss his shoddy writing....

Comic of the Week (2/4/11) – Grab Bag #1

Comic of the Week (2/4/11) – Grab Bag #1

This week, it was difficult to pick a single comic of the week. Several good comics, but nothing GREAT. So, I’ve selected a “Grab Bag” of three really good ones this week: Invincible Iron Man #500.1 by Matt Fraction and Salvador LaRocca, Secret Six #30 by Gail Simone and Jim Calafiore and Ultimate Thor #4 by Jonathan Hickman and Carlos Pacheco....

Batman Beyond Issue 1 of 6

Batman Beyond Issue 1 of 6

As part of an effort to add Batman Beyond into the mainstream DC Universe, Terry McGinnis’ Batman has been making more appearances in comics, including a lead spot in the Superman/Batman Annual #4 (2010), which was actually quite good (expect a review soon). We’re also being treated to a six-part limited series which has Batman battling an old nemesis of Buce’s; Hush. This series takes place in 2039, and in terms of continuity, it’s after McGinnis defeats the “reborn Joker” in the movie Batman Beyond – Return of the Joker (check out the Original Uncut Version). Issue 1 starts with the mysterious break out of a subject at the Cadmus facility. Not much information is given here, and it’s basically just a setup for later. The action begins a few pages later with Batman fighting Spellbinder. The fight lasts 5 pages, and it’s very well choreographed, however it goes on far too long considering Spellbinder never gets off a hypnotism spell. This just doesn’t fit. Spellbinder was a high school counsellor, and yet he’s holding his own against Batman for 5 pages, doing backflips and aerial kicks. As if that were not confusing enough, Batman gets visited by Micron asking if Batman would reconsider their offer to join the Justice League. I’m hoping there will be a reason for this later in the series and that it wasn’t just put there for the few interesting panels between Terry and Bruce as they discuss Bruce’s involvement in the Justice League many years earlier. There is real friction between Bruce and Terry in this issue, and having read the next couple, I can safely say it gets worse. As Terry investigates who is killing old foes of the original Batman, he’s also having to deal with Bruce in his cowl. With the exception of the Spellbinder fight at the start, I was very impressed with this first issue. Had they chosen another foe, perhaps Inque, whom he mentions at the start of the issue, I’d have been a lot happier with it as a whole. Still, the art is absolutely fantastic, and the writing is solid. Dialogue between all of the characters is engaging, especially between Bruce and Terry. And, of course, the action doesn’t slow down for very long, which is something we’re used to with the Batman Beyond IP. Batman Beyond Issue 1 of 6 DC Comics Story: Adam Beechen Art: Ryan Benjamin, John Stanisci, David Baron...

Superman Issue 701: “Grounded, Part 1”

Superman Issue 701: “Grounded, Part 1”

I’ve got two things to get out of the way before the actual review. First, I freaking LOVE that cover (by Astonishing X-Men artist and BDTU favorite, John Cassaday). When you walk into your comic shop and see that cover practically jumping off the shelf at you, you can’t help but pick it up. Second, and I’m apparently in the minority on this one, but I’m a fan of J. Michael Straczynski. I liked his work on the Spider-Man franchise. He introduced some interesting elements that I would have liked to see him explore further, but his hands were tied by larger events. He’s been widely criticized for his work on the controversial “One More Day” storyline, but most of the work there can’t even be attributed to JMS. His previous work aside, I was excited when they announced JMS would be taking over Superman. I’ve never like the Man of Steel all that much, so bringing in a writer known for his fresh, original ideas was a move I welcomed. We saw the prologue to Superman #701 in the big Issue; 700. After spending a year dealing with New Krypton, Superman was sorely missed on Earth. He wasn’t there when people needed him, or at least thought they needed him. He has grown out of touch with the people he’s supposed to protect. Which brings us to “Grounded.” Superman reaches the decision that he should no longer live above humanity, but rather alongside them. So, he starts walking. Not really going anywhere, just walking… there’s kind of a Forrest Gump thing going on here. The first issue finds Superman walking the streets of Philadelphia, in another departure for DC, as most of their locations are fictional. It’s an interesting way to reconnect Superman, not just with his fictional world, but with his readers as well. So, Superman’s on a walkabout, going around helping normal people with normal problems. He uses his X-Ray vision to help someone fix his truck, he cleans up a diner’s stockroom to pay for his lunch, and in a great bit of writing literally talks someone off a ledge. He’s helping real people with real problems, instead of punching invading aliens in the face. It’s a change I find very interesting, but many readers don’t. They feel Superman is being a smug jerk, ignoring larger problems in order to make himself feel better. As Superman himself says, “If there is [a crisis], I’ll deal with it and come back, pick up where I left off.” He’s not ignoring the rest of the world; there’s dozens of other heroes than can hold down the fort while he’s gone. If the world really does need Superman for something, he’s not gone, but he would rather spend his time actually helping people. As the issue goes on, Superman becomes philosophical. Why does the world need a Superman? People have become so dependent on his help, and that of other heroes, that they’ve forgotten how to help themselves. That’s the true purpose of his walk. He wants to create a world that doesn’t need a hero, because each citizen is a hero in their own right. It’s a thought-provoking parallel to our own society. Instead of wondering why others aren’t helping, look within and ask what we’re doing to make the world a better place. True, it may get a bit preachy at times, especially when Superman starts quoting Henry David Thoreau, but aren’t superheroes – these larger-than-life characters supposed to be an inspiration to the rest of us? This is the first time, possibly ever, that I’ve been looking forward to an issue of Superman. I can’t wait to see how the story evolves in Issue 702. Superman Issue 701: “Grounded, Part 1” DC Comics Story: J. Michael Straczynski Art: Eddy Barrows (Pencils) & J.P. Mayer (Inks)...

The Perfect Mini-Series

The Perfect Mini-Series

In comics, a miniseries is actually a pretty difficult thing to pull off well. Sure, there are plenty successful ones out there, but it takes a little something special to go from “good” to “great.” It takes even more to be Perfect. There are three ways to pull off a miniseries. First, you can go completely Original. This style is best seen in works like Kick Ass and just about everything worth mentioning from Frank Miller and Alan Moore. The Original Miniseries gives the creator free reign to do whatever their imagination (and artist) can come up with. However, none of these are the Perfect Miniseries. In an Original Miniseries, there is a limited amount of time to introduce your characters, set up the plot and reach a conclusion. It makes for a fun, fast-paced story that can be the start of something bigger, like Hellboy, but without the time and space for deeper development, these minis fall just short of Perfect. The one that comes closest is Watchmen, which I’ve previously selected as one of the five best comic stories ever. Unfortunately, at twelve issues, it’s hardly “mini.” Next, we have the Continuity Miniseries. Minis like Crisis on Infinite Earths, Civil War or smaller, character-focused ones like the first Wolverine miniseries. Continuity Miniseries can cast aside some of the issues holding Original Miniseries back. We already know the characters, we’ve likely even seen the beginnings of the plot. Though, again, the Perfect Miniseries is not found here. The very thing helping with the development of a Continuity Miniseries is what holds it back from being Perfect. The stories just don’t stand apart on their own. Crisis could have easily been told as a Justice League story, Civil War as an Avengers story. They just don’t hold up well on their own. If you were to read one, with no knowledge of the events before or after, you would be left feeling incomplete. The character-based Continuity Miniseries stand up a little better here, but still require quite a bit of knowledge going in. The final category is the Outside Miniseries. This type takes established characters or events and tells its own story with it. Sometimes within continuity, but usually taking place in an alternate reality, changing established details to create something new, or even telling a well-known story from an alternate point of view. Marvel Zombies twists reality by turning Marvel’s greatest heroes into… zombies. It’s right there in the title. Superman: Red Son asks the question, “What would happen is Superman landed in Russia instead of America?” Marvels re-tells many of Marvel’s most famous stories from the point-of-view of a normal human, a photographer. The thing that sets an Outside Miniseries apart is creative freedom. An Outside Miniseries can tell a story that would almost never occur in the pages of the regular monthly publications. Everybody knows Superman, most comic fans know the origins of the Marvel Universe. An great Outside Miniseries takes that basic knowledge and tells a completely unique story with it. That is why an Outside Miniseries has everything it takes to be the Perfect Miniseries. A simple, self-contained story with the space to fully develop. Of course, the ability to create an Outside Miniseries at their own pace, only publishing it when its ready, enables the writers and artists to put out some of their best work. So, what do I consider the Perfect Miniseries? Kingdom Come, published by DC in 1996. Written by Mark Waid, with art by Alex Ross The first thing that sets Kingdom Come up as the Perfect Miniseries is the art. Alex Ross is the freaking man. He’s not a penciler, as is normal for comic artists. Ross is a painter. As such, each page takes longer to create, and he rarely does full art for a comic, usually sticking to covers or concept art. Kingdom Come is one of the rare occasions where he does all the art. Normally, I’m not a big fan of photorealistic art in comics, mostly because it never looks good, it just takes too much time to pull off. But, being an Outside Miniseries, DC gave Ross all the time he needed and the results are phenomenal. The art alone is only half the visual package, though. With Kingdom Come taking place in the future, Ross’s character designs are a comic nerd’s wet dream. Great art is nothing without a good story, and Waid capably backs up Ross’ vision. Set decades in the future, Earth is a frightening place. Years prior, society had begun to favor a new generation of heroes, ones whose methods were more extreme than the Justice League. Disturbed by the change, Superman retired, with many of his allies following him into seclusion. Now, that new generation of “heroes” is threatening the civilians they’re supposed to protect. When a fight gets out of hand and Kansas is destroyed, Wonder Woman talks Superman into coming back. With the old heroes coming back to set things right, conflicts with the new generation escalate. Those who don’t voluntarily join Superman’s side are forced into sharing his point of view. With no peaceful end in sight, humanity grows increasingly worried. Normal human beings, those without power, begin to wonder if Earth wouldn’t be better off without the entire superpowered community, with the familiar face of Bruce Wayne sharing the sentiment. Eventually, things reach critical mass and the United Nations decide to put an end to things with a single, decisive action. While not a happy ending, exactly, Kingdom Come does end on a hopeful note. Published in the mid-90s, a time of excess in the comic industry, Kingdom Come can be seen as a cautionary tale of the future of some of DC’s competitors at the time, as they were moving in an increasingly mature direction. That, in addition to the artistic and story aspects is what makes Kingdom Come the Perfect Miniseries. It left behind a legacy. It would see a sequel several years later in The Kingdom. Additionally, Marvel commissioned Alex Ross to give their characters a similar treatment in the Earth X trilogy. Years later, the Kingdom Come story would be a large part of the monthly Justice society of America title. Magog, the leader of the “new generation,” would appear as part of the core DC Universe, even getting his own ongoing title. The comic industry is full of copycats. Years later, writers are still trying to recreate Watchmen or The Dark Knight Returns. The only person who has been able to recreate the perfection of Kingdom Come is Alex Ross himself, nobody else has even tried. Instead, DC’s stable of creators are happy to simply build on it. The Perfect Miniseries not only stands on its own as a model of perfection, but inspires future generations to live up to its legacy....

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