Monday, 19 December 2016

Jessica Jones #3

   If you have any doubts about how tough Jessica Jones is, this issue has you covered.

   She's been captured by a super-powered villain, and wakes to find herself in a confrontation with a mystery woman.

   And that's what this issue is (mostly) about - a quiet but intense discussion between two women.

   But since it's written by Brian Michael Bendis, you know it's a riveting exchange - and it actually has ties back to the events in Civil War II (but in this case, it's not a bad thing).

   The art by Michael Gaydos is raw, real and evocative. It's not the usual slick, over-muscled superhero standard - but it's perfect in its evocation of the real world setting.

   If you're a fan of the mini-series - or the original Alias comic series - you're bound to like this.

Grade: A-

-----------------

 

Captain America by Terry Shoemaker


Cover Composition: Superman Vs The Amazing Spider-Man // artwork...





Cover Composition: Superman Vs The Amazing Spider-Man // artwork by Carmine Infantino, Ross Andru and Dick Giordano (1976)

KID KLASSICS: DO YOU KNOW HOW CHRISTMAS TREES ARE GROWN?


My livingroom at Christmas some years ago

Omade, even?  In the case of the one I brought down from my
loft a fortnight ago, it's made of bristle 'branches' entwined by wire at-
tached to a wooden 'stem', from which the branches unfold to display the
tree to best effect - only to be folded back against the stem when it's time
for it to return to the loft for another year.  At least, that was the process
originally.  However, the wire is now far too frail to withstand continual
bending (and has been for many a year), so is simply covered with a
bag before being returned to its accustomed place in the attic.

The tree is older than me and has graced every house I've ever lived
in.  However, over a quarter of a century ago, some of the branches were
missing, having snapped off over its vast lifespan when the wire had become
fatigued past the point of flexibility.  Also, some of the little red beads at the
end of each branch had become detached and were long lost to the shadows
of many a Christmas past.  Then, one day, while walking past an OXFAM
shop, I espied my tree's twin in the window.  I soon acquired it, and then
used it to replace the missing branches and beads on my own tree.

Standing back to admire the results of my restoration work some
time later, my eyes fell upon the sorry remnants of the cannibalised tree
which I had so heartlessly lured to its doom, and I was suddenly consumed
by an overwhelming sense of guilt.  The tree had trusted me, had accompa-
nied me willingly, believing itself welcomed into the bosom of a new family
whose Christmases it would happily share every year from that point on -
only to be ripped apart and cast aside upon arrival in its new home.  I felt
like a murderer.  So eager had I been to restore my old tree, I'd hardly
considered the act of cruelty I was inflicting upon its doppelganger.

Ooer - the dog's up on the settee again

It could not be - it should not be - it would not be!  What could I
do however, to reverse my thoughtless act of wanton vandalism on the
innocent tree and redeem myself, not only in my own eyes, but those of
the grieving Spirits of Christmases past, present and future?  A future now
seemingly denied the tree I had plundered for spare parts.  Then I noticed
something about the base of the tree, which, in all ways but one, was the
double of the other, and hope rose in my now remorseful heart.

Both bases were portions of logs into which the tree-stems were
sunk.  The logs had then been painted red with gold highlights applied
in places over the bark.  However, although each tree was the same size
(or had been until my 'surgical' intervention), the 'new' base was a fair bit
thinner and therefore seemed, compared to its 'twin', out of proportion
to its height.  Had the tree been smaller, it would have been a much
better match for its base.

A close-up of 'Junior'

That was the answer.  I would use the remnants of the ruined tree to
build a smaller one more in keeping with the size of its base.  I carefully
'operated' on the leftover branches, making sure that each tier reduced in
length from the bottom up, so that the natural fir tree shape was maintained.
The original stem had splintered when I had removed the branches for trans-
planting into my first tree, so I bought a replacement pole from a D.I.Y. shop,
wood-stained it, carefully drilled holes at regular intervals to accommodate
the surviving customised branches - and hey, presto - one mini-Christmas
tree, approximately half the size of its original dimensions and looking
for all the world as if it had always been that way!

Every Christmas since (approximately 28 or 29), both trees have
shared Yuletide duties in my living-room, the original in the front half and
'Junior' on top of the TV in the back half - each with their own set of lights
to pierce the descending darkness of December late-afternoons.  And thus
shall it ever be until my last Christmas on earth - and if they should survive
my passing, some kindly stranger, perhaps seeing them in a charity shop
window, will take them both home to brighten the Christmases of a
new family for many a long year to come.

"God bless us, every one!"

Catwoman // artwork by Rafael T. Pimentel (2016)



Catwoman // artwork by Rafael T. Pimentel (2016)

Review: Justice League 3000 Vol. 2: The Camelot War trade paperback (DC Comics)

Sometimes the best ideas can come from desperation, and that seems no more apparent than in Justice League 3000 Vol. 2: The Camelot War. I find it hard to believe the twist in this story was planned from the start, but be that as it may, it's what got me reading Justice League 3000 in the first place.

As in the first volume, this book is well-plotted, though the repetitive bickering between writers Keith Giffen and J.M. DeMatteis's stock Leaguers Superman, Batman, and Wonder Woman grates after a while. The book is invigorated considerably, however, by the addition of two of the writers' best-known characters, whose voices are so synonymous with Giffen's brand of unfunny funniness that it seems less gimmicky and more natural. Also helpful are a couple of new-old characters (new characters in old bodies and old characters in new bodies), whose voices as well freshen the patter that threatens to grow stale.

The juxtaposition of one story ending and one beginning in this book cancel one another out. Though arguably we find the climax of the first storyline halfway through Camelot War, this feels like an interstitial trade that's more set-up than real content. That's not bad per se, though these kinds of things work much better when a series has ten trades, not four. Still, this volume ends on an up note, promising the culmination of what I've been waiting for this whole time.

[Review contains spoilers]

In my review of Justice League 3000 Vol. 1: Yesterday Lives, I remarked how similar this series is to Giffen and DeMatteis's Justice League International; in Camelot War, we find it's not just like International, but rather it is International. Bless the loose continuity of DC You (unless we're still to find a Rebirth tie here), but it's not so much the arrival of Blue Beetle and Booster Gold as when Ice Tora Olafsdotter recognizes Wonder Woman as her former teammate, mentioning the JLI specifically, that we understand that we really are somewhere else.

Yesterday Lives involved the resurrected League learning about this new futuristic universe, on behalf of the audience, surrounded by unfamiliar faces. Camelot War offers a new dynamic, to play out in Justice League 3001, in which these amnesic Leaguers will now encounter characters who actually knew them previously. Quite aside from the fun next time of seeing Booster, Beetle, Ice, and others back together, this'll be a curious turning point for the League 3000 to learn about their old selves from more reliable sources -- as well as how the immortal Ice can help fill in the gaps between the present day of whatever continuity these characters come from and now.

Giffen and DeMatteis use this book's permeable door between life and death well. Not only have the writers shown they can cameo pretty near anyone (including Etrigan the Demon), but Camelot War's biggest surprise was their resurrecting "Wonder Twin" Teri just an issue after her brother Terry betrayed the team and murdered her. Though poor Barry Allen's been killed twice here, Teri's all the more interesting with Barry's powers, not in the least again because it gives the writers a character for the others to play off who's not as antagonistic as the original Leaguers. The effect is almost immediately noticeable, perhaps intentionally, in the softening of both the Superman and the Wonder Woman characters in specific.

At the same time, these resurrections come with a cost, and League challenges the characters to consider whether the greater good really outweighs individual sacrifice. We learned in the last volume that a person essentially dies every time a Leaguer is resurrected; here, there's a specific scene of a woman dragged screaming to her death as Terry tries to bring back the Injustice League, but similarly the League's Ariel Masters kills someone off-camera to bring back Teri. That's a curious choice on Giffen and DeMatteis's part, making horrific the bad guys' bad deeds but sanitizing the good guys' ones, and I'm curious to see the Leaguers make a full reckoning of this before this whole thing ends.

JLA's Howard Porter does fine work here again, with both futuristic backgrounds and majestic medieval scenes. Porter, with direction from Giffen I believe, also has a variety of tilted or otherwise irregular panels that give the pages an interesting bent. Equally the Hi-Fi colorist provides pages a well-toned, almost painterly look, which further complements Porter; to me Porter looks as good or better than his late 1990s work.

There's a grand, impressive battle at the center of Justice League 3000 Vol. 2: The Camelot War, but the promise of Booster Gold, Blue Beetle, Ice, and Fire meeting the League 3000, plus the threat of the resurrected Injustice League, makes it seem the big events are still to come. Keith Giffen and J.M. DeMatteis write a Booster Gold/Blue Beetle spotlight issue here, which in and of itself makes Camelot War something worth checking out, but I'm eager for the penultimate volume of this series to finally get to the meat of the story.

[Includes original covers, character sketches]

BABE OF THE DAY - RAQUEL WELCH...



The ravishing RAQUEL WELCH is
the kind of woman to whom you'd give
the shirt of your back - so I did.  Don't
believe me?  Look, she's wearing it!

Review: Action Comics #969


Action Comics #969 continues the Men of Steel storyline which explores Luthor's role as Superman and what the concept of justice. Writer Dan Jurgens and artist Patch Zircher take us to an alien world where warriors punish criminals before they commit their evil acts. And it is a decent, entertaining read.

Whether it is the conversation 'would you kill Hitler as a baby?' or Minority Report, the idea of pre-emptive justice has been explored a bit. But I don't think I have necessarily seen it in a Superman comic. I am also reminded of the mostly plodding 'Trial of Superman' arc in the 90s where Superman was put on trial for a crime he didn't commit, taking the blame for his race's actions in the past.

Luthor here is being charged with becoming Darkseid and being a universal threat. This is a heavy charge, one Luthor denies he would ever do. But the question remains, would you kill Luthor to stop the murder or enslavement of billions? Even the God-killers, like L'Call, give pause.

It is interesting to see Luthor acting as Superman here, pointing to the S-shield as a defense, and wondering why he is being hunted down for something he hadn't done. Irony!

As usual, Zircher brings a lot to the table here. From pacing of panels to point of view angles, Zircher is one of those artists whose work I try to dissect, trying to intuit what he was trying to say with the art.

U know 'decent, entertaining read' is damning with faint praise. Trust me, this is a good book and this plot is fascinating.



L'Call and his partner Zade (who has some 'weakening' power) have brought Luthor back to their base, the shattered planet Nideesi. This is unusual as L'Call usually kills his target rather than bringing them home. We know that L'Call has been doing these missions for thousands of years. This is the first time he has returned with his target alive. You get the sense, just from this, that this mission is different than others L'Call has performed.
 
Between Zade's power befuddling Luthor and L'Call deactivating Luthor's armor, it seems Luthor is helpless.

In one small piece of the plot which stretched even my ability to suspend disbelief, Luthor ejects his Mother Box, the power source of his armor. And then, he tips a nearby bucket over it, hiding it from his enemies.

I get it. I can swallow Apokoliptian armor, teleportation, precogs, and universal lawmen but I can't buy L'Call not seeing this unfold and a bucket luckily being nearby? It just seemed a bit too convenient.

Luthor's complaints about being wrongly accused leads to a flashback where we get L'Call's back story.

We see him standing before his leader, a wizened woman named Ch'arr. In a nice, mystical beach landscape, L'Call admits he is tired of his work. He has slaughtered potential criminals for generations, killing them before they can commit their crimes.

Ch'arr reminds him that while L'Call is weary of killing, he should offset that by remembering the huge numbers of people he has saved. After all, doesn't he wish his own planet had someone to protect them.

I love how the scene closes. L'Call basically says he is done with this role. He slowly recedes into the blackness. This isn't darkness as a surrogate for evil. He isn't descending into darkness that way. This just shows how tired he is. There is no light around him. No energy. His shoulders are slumped. Wonderful.


We heard that his planet was destroyed. Now we get the easiest sympathetic hook for a character. L'Call goes to his quarters and brings up images of his dead wife and daughter. Zircher brings some reverance to the proceedings. L'Call is in a room with candles, in lotus position, conjuring these pictures.

As I said, this is an easy way to bring some sympathy for L'Call. The death of family is the origin of countless superheroes. So maybe this is Jurgens trying to make us look at L'Call as the Batman of this piece rather than the Deathstroke?

It also helps us understand L'Call's current crisis of faith when we hear how the last person he killed for future crimes was executed in front of the man's wife and children. How can L'Call mourn his family's death while taking part in the death of families?


But the vision of Luthor as Neo-Darkseid is enough to bring L'Call temporarily back in the fold. But it is clear his heart isn't completely into this mission. Why leave Luthor alive? Even Lex can see this as a potential weakness he can exploit. Does anyone smell a trial happening? Luthor defending himself?

Meanwhile, that Mother Box is burrowing underground. We'll see that again.


I especially loved this small panel.

Luthor denies that he will subjugate anyone, calling upon the significance of the S-Shield as a defense. So ironic given that Superman saying the same thing to Lex in the past has fallen on deaf ears.

And while I may be reaching, I also think Zircher kind of hides Luthor's face because it isn't his symbol. It's Superman. So why should we see Luthor to link him to it.

In another nice wrinkle, we actually hear Luthor hope the real Superman will come for him. Another interesting turnabout for Lex.


And Lex is right. Despite 'Evil Clark' continuing to push for Lex to get his just desserts, Superman can't abide. He heads back to the Geneticron building to investigate. He realizes that L'Call was there and it was L'Call who teleported it away. (That's right, L'Call was the ball cap wearing dude in those older issues.)

Inside, Superman finds the pods that L'Call and Zade traveled in. With a little tinkering, he is able to open up a portal to Nideesi. Superman has to do what's right ... rescue Lex.

I love that Nideesi is a shattered planet. It must have been the target of something major, perhaps leading the people to become the pre-emptive strike force they are. Will we learn that origin?

So overall, I thought this was a nice deep dive mostly into Luthor. How could he argue against L'Call's approach when that is his approach to Superman? That is a nice wrinkle.

But L'Call's simple origin and the Mother Box/bucket moment just were a bit too chin-scratching to make me give this a higher grade. This is still a great book and this was a very good chapter. But I want so much more ...

Overall grade: B

Number 1987: “It’s that binkety blank little Doll Man again!”

I have shown a lot of Doll Man stories over the years, 17 by my count, including this one. There were several artists who worked on Doll Man over the years. I see the same challenges for any artist where the size of the character against the normal size of objects has to be consistent. The art on this particular early entry to the Doll Man series is by Reed Crandall, but how much of the art I don’t know. Some of the poses are obvious Crandall, some aren’t. I wonder if someone else inked him, and/or if other artists pitched in and helped with some of the pencils. Something I do know about Crandall is that many of his superhero poses ended up in the swipe files of other artists. He was just that good.

Doll Man, who is Darrel Dane when he is full-sized, has a girlfriend named Martha. Later on in the series Martha became Doll Girl, but in the early days she was a typical superhero girlfriend who couldn’t tell her everyday boyfriend was really super. (And he took pains not to include her in the secret.) In this entry Martha gets to kick some butt, and like many other girlfriends of heroes, gets tied up. Truthfully, I was so busy looking at each panel for Crandall poses I missed most of the story. It probably doesn’t matter that much, does it? The most surprising thing to me about the story itself is told in this spoiler alert. If I were you and didn’t want to know, I would skip the next paragraph and go right to the story.

[SPOILER ALERT]: At the end of this story Doll Man, in his miniature form, has to steer a car out of danger and tells the bad guys, "I have a driver's license!" I assume he got his driver’s license as Darrel Dane, rather than as his diminutive alter ego. He would have some explaining to do for any cop who pulled him over as Doll Man. But...wait. On page 7 we see that Doll Man can instantly become Darrel Dane, so when in peril while driving down a narrow mountain road, why not just transform to his larger self? Ah, there’s no dangerous fun in that![END SPOILER]

From Feature Comics #56 (1942):












 
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