New Comic Wednesday

Perhaps I ought to be clear...I don't always get my books on Wednesday. This week, for example, I'll be putting it off until Friday or Saturday, most likely. However, this is the release day, when nerds all over the US stumble into their local comic shops and plunk down their greenbacks for their overpriced graphic storytelling pamphlets of choice. Hence, a good day to go over MY particular pamphlets of choice...

So we begin.

Batman & Robin #4

Written by Grant Morrison
Art by Philip Tan and Jonathan Glapion
Cover by Frank Quitely
Variant cover by Philip Tan

Frank Quitely's speed as an artist means, frankly, he can't keep up on a monthly book. So, smartly, this title has been designed to change artists from arc to arc in order to maintain the schedule. Why don't more companies/editors/titles see the smarts in this? I'm not advocating replacing artists on mini-series or special events, but how about a little planning and forethought, guys?

Anyway, I'm quite fond of this title. This current run with former Robin Dick Grayson replacing the presumed dead Bruce Wayne, with Wayne's illegitimate son, Damian, as Robin (and that's the last time I'm recapping that in this blog) has been working wonderfully. This is especially true with Frank Morrison's writing. I was never very happy with Morrison's take on Bruce Wayne, which seemed way too odd, flat-out insane at time. However, this new tone with Dick behind the cowl is working just fine. I'm excited to see what Philip Tan will do with it.

Batman: Streets of Gotham #4

Written by Paul Dini
Co-feature written by Marc Andreyko
Art by Dustin Nguyen and Derek Fridolfs
Co-feature art by Jeremy Haun
Cover by Dustin Nguyen

I love Paul Dini. One need only play the recently released Batman: Arkham Asylum video game to see that the man has an extremely firm grasp on The Batman and his world. He's a master storyteller. However, unlike Morrison, I feel like Dini is far more comfortable with Bruce Wayne behind the cowl. Dini's work since the presumed death of Wayne, in this title and Gotham City Sirens, has been less focused and sharp. I don't think he could write a bad story, but I think we're not seeing the best he can be right now. I don't think I'd drop this title, but the $3.99 price tag doesn't help matters.

Blackest Night #3 (of 8)

Written by Geoff Johns
Art and cover by Ivan Reis and Oclair Albert
Variant cover by Ethan Van Sciver

I love Geoff John's work. He's clearly become a favorite over at DC editorial, and he's earned their respect and trust with sharp, economic tales that are packed with lots of widescreen action. This particular "event" mini-series has been building for a long, long time in the Green Lantern titles, and while the general tenor and content of the event is not surprising, I have to say, I, personally, am a little underwhelmed. It's a great book, good writing, good art, well paced, but, essentially it's a huge intergalactic zombie invasion story. I, unfortunately, have never been a fan of zombie stories in any form. That's MY block, and I fully admit it's a great series, just not my cup of tea.

Brave and Bold #27

Written by J. Michael Straczynski
Art and cover by Jesus Saiz

Ah, now this is old-school comics. An old-fashioned team-up book. This will be the first issue with writer J. Michael Straczynski, who's announced his intention to use the most obscure DC charaters he can find in this book. Starting here with "Dial H for H-E-R-O," I won't even try to explain. Really looking forward to "Brother Power the Geek" in two months. Series like this often don't last long, as there is not ongoing character to be a draw month-to-month. (That's why Batman was a permanent co-star in the 80's version of Brave and Bold) I have every issue of this run, and while it's not always perfect, I usually enjoy something about each issue.

Wednesday Comics #11 (of 12)

Various Writers and Artists

My feeling remain unchanged on this series. You can read what I've written in the past. However, I am REALLY looking forward to this run ending, and not having a weekly book to buy. It's quite a drain. Before this, I religiously bought and read Trinity, DC's prior weekly book, but between 52 issues of that, and 12 of this...I could use a break.

Captain America: Reborn #3 (of 5)

Written by Ed Brubaker
Art by Bryan Hitch and Jackson Guice
Cover by Bryan Hitch

Ahh, well DC is bringing the Barry Allen Flash back to life, or has. So, Marvel is bringing back the Steve Rogers Captain America, y'know, the guy they made such a big fuss about killing about 2 years ago? That doesn't bother me, really, it's comic books. What does bother me, slightly, is the way it's being done. Ed Brubaker's Captain America run has been one of big, but generally realistic stories. The focus has been with over-the-top spy action, not unlike a James Bond movie or the old Nick Fury: Agent of S.H.I.E.L.D comic series. To have Steve Rogers "unstuck in time," and reliving events of his past seems...a little too sci-fi for what we've seen before. I admit, I have no idea how Brubaker will wrap this up, so he may address that concern.

Catching up...

Missed an entry yesterday. So, my weekly comic buy list, which I KNOW you are all, literally, DYING to read each week, was not published...

So, here we go. Thankfully, I have a light week after the last few very heavy ones. Always nice to get one week where you don't have to shell out quite so much. Only 4 titles.

Red Robin #4

Written by Christopher Yost
Art by Ramon Bachs
Cover by Francis Manapul

This series is kind of the red-headed stepchild of the Batman line. Tim Drake is ousted as Robin, and replaced by Bruce Wayne's illegitimate son, Damian (LONG story), when Dick Grayson (The first Robin) takes up the mantle of The Batman after Bruce Wayne's apparent death. Tim, you see doesn't believe Bruce is really dead. We all know he'll be back sooner or later, as readers, but within the story, Tim's the only one holding out hope. So, he takes on this new identity of Red Robin, and apparently grows into adulthood very quickly, and is scouring the globe looking for clues as to Bruce's location. I think the series stands out like a sore thumb because it's the only place where the characters aren't trying to forge ahead. Dick, Alfred and Damian, representing the core characters for 3 of the 6 Batman-related titles, are trying to find their way without Bruce, and that storyline is strong, and working well. This is the only title where we're being reminded, over and over, this is only a temporary storyline and Bruce will return. Even if Tim never really finds anything concrete to base his beliefs, it's still flying in the face of what's working so very well in the other titles.

I'm still buying, mainly because I like Tim as a character, but it is on the bubble for getting dropped.

Wednesday Comics #10 (of 12)

Various Writers and Artists.

My thoughts on this series are unchanged. You may go back and look at last weeks comments.

Kick-Ass #7

Written by Mark Millar
Art by John Romita JR. and Tom Palmer
Cover by John Romita JR.

So, here we have Mark Millar's latest "I sold it to Hollywood before the first issue hit the shelves" series. Millar, I have to hand it to him, can spin high-concept like nobody's business. The one line description, "normal real-world kid decides to be a super-hero, and gets in over his head," is just the sort of think Hollywood snaps up. The question is always execution, and things get especially foggy when the development of the film is going on as the series is playing out. I have no doubt that Millar and Romita have changed things because they new a "major motion picture" was in the offing. I just don't know how to feel about the series. I do enjoy the issues as I read them, but I can't say I'm chomping at the bit for the next. The fact each issue takes 2-3 months to appear doesn't help. It's not bad, but it is yet another example of Millar's over-hyping and early media sale of his idea making the ultimate product seem...underwhelming. That being said, John Romita Jr's art is, as always, stunning.

Ultimate Comics Avengers #2

Written by Mark Millar
Art by Carlos Pacheco and Danny Miki
Cover by Carlos Pacheco

Ah, More Mark Millar. I have to say, my favorite Millar writing is within Marvel's Ultimate line. I'm still angry about the Ultimatum event, even now it feels like a useless exercise for a line that was always intended to be a easy way in for neophytes. Suddenly, this title and Ultimate Comics Spider-Man are carrying the baggage of a bloody-minded, and relatively failed story that forced them to change the tenor of their stories. I mean, that can be a good thing. Brian Bendis has used it to really change the game with Spidey, but I still resent that such a bad mini-series caused all this. What about this title? I can't remember what's going on, so that may tell you something.

So, what for Friday?

I stumbled across a blog for a Chicago theatre company, who shall remain nameless, in which they put forth, once again, this idea that theatre professionals need to "educate" the audience. That audiences need to understand the work we do in order to appreciate it.

This, my friends, is bullshit. In fact it's not only bullshit, but it the kind of arrogant attitude that is slowly killing our artform. It's proceeding from the idea that if only the poor public could understand what we do, they would love it. It's the kind of stupid, elitist thinking that allows an art form to slowly, forcefully insert it's nose up it's bellybutton and keep on going.

This blog offered several ideas, such as that we ought to strive to make the purveyors of the craft draws in themselves. For example, that a skilled sound designer ought to be able to bring audiences with them. Also that the proliferation of "Computer programs like Word, Garage Band and iMovie have opened up the practices of graphic design, music composition and filmmaking to the public," yet no such "in" exists for theatre. Well, frankly, I think those programs, while, yes allowing some truly skilled individuals to spread their work to the world, have facilitated the ability for people with relatively weak skill sets to feel validated because they can publish sub-par and half-baked ideas on the web.

I mean, seriously...Have you heard my music? Take a listen. I can play guitar, I think. I am a mediocre singer, and my songwriting skills could probably benefit form collaboration. Yet, I can record 2 CDs worth of music. This is not changing the world of music, or improving it, I'd hazard to say it's probably watering it down.

My point is, understanding and having access does not create better art. In fact, I would say in emboldens people who, honestly, lack the skill to do what they are trying to accomplish. Trying and failing is not a crime, but before the digital revolution there was an editorial system in place, publishers, record companies, movie studios, (I know, I know...Corporations, SO EVIL!) that would, generally reserve mass exposure to those with the experience, talent and skill to create the best material. You had to WORK to get a mass audience, not just buy the right equipment.

Enough of that, to the point; what would improve theatre? What would excite audiences and get buts in the seats?

Follow this link. Then come back, I'll be here.

Anthony Neilson is, frankly, my new hero. Why? Because he looks out at the state of theatre, and instead of thinking "what's wrong with the audience?" he asks "what's wrong with us?" The fact is, there is plenty wrong with how we are going about what we do. Theatre has been hijacked by a group of people who have tried to elevate it to "high art."

William Shakespeare did not write "high art." He wrote rabble-rousing plays about sensationalized topics, with lewd jokes and an entertainer's heart. I am firmly convinced that, were he alive today, Shakespeare would be happily working right in the Hollywood system, grinding out films like Armageddon. Shakespeare never lost sight of the basic point of theatre TO ENTERTAIN. Yes, his plays also exposed many, many truths about the human condition, but that was a sideline to giving the groundlings a good show.

Why do we treat our classics like something to be embalmed? Why must Chekhov always seem slow and ponderous? Why can't we take these plays and not just fall back on the old thought process, but make them our own. Make them vital, alive and ENTERTAINING for our audiences today?

That spreads to every facet of our work. Yes, we want to challenge our audiences, but if that challenge comes in the form of two characters debating the culpability of auto dealers in the environmental crisis for 2 hours, the only challenge you're offering is to stay awake. There are so many ways to make a point in drama, why do we always seem to fall back to lecture? Allegory can be such a strong platform, look at District 9, which is one of the strongest films about race relations and the way we treat the lest fortunate and "different," yet is exciting for almost every moment of it's run time. Clearly you couldn't do District 9 on stage, but you could do something like that.

Stop thinking that the problem lies in changing our audience, and change yourself.

New Comic Day 9/2/2009

I knew I said this would be a weekly feature, but the last couple of weeks have been really busy.

However, I really feel I'm going to have to re-evaluate my current pull list. I had to pick up two weeks worth of books last week, and it was a pretty big hit. I blame this mainly on the price increase from $2.99 to $3.99 of some DC titles, and, it appears, most of the Marvel line. (at least the popular books)

Anyway, this week's pull...

Batman #690

Written by Judd Winick
Art by Mark Bagley and Rob Hunter
Cover by Tony Daniel

Mark Bagley is my favorite modern artist, hands down. I'm really of the opinion that the man is the most skilled monthly artist working today. His layouts are dynamic as hell, his work detailed, but cartoony enough to simply be fun to look at, but, and this is what really makes him unique, HE GETS THE WORK DONE ON TIME. No one is as fast, and good, as Bagley. Winick can be hit-or-miss as far as writing, but I generally like his Batman work, and he seems to be right on top of this "Batman Reborn" arc, with the apparently dead Bruce Wayne replaced by former Robin/Nightwing Dick Grayson. Winick seems to understand Dick, and the weight he's carrying, quite well.

Jonah Hex #47

Written by Jimmy Palmiotti and Justin Gray
Art and cover by Cristiano Cucina

I will say this over and over until more people start buying this book; the most consistently good monthly book on the shelf. It also rises to excellent quite often, usually depending on what artist in on the job. The title has been known for single-issue tales since it's inception, but "The 6 Gun War" brings us the first multi-part epic from Palmiotti and Gray, who've been on the title from issue #1. I wish I could say this tale lived up to the one-offs, but it doesn't. It's good, definitely worth reading, but I think the writers are struggling a bit with pacing. I quite like Cucina's art, but he doesn't reach where, say, Jordi Bernet or Darwyn Cooke have with Hex.

Justice League: Cry for Justice #3 (of 7)

Written by James Robinson
Art and cover by Mauro Cascioli

*sigh* I cannot for the life of me tell where this mini-series is headed after the first 2 issues. Other than to Robinson's run with the aforementioned Mark Bagley on the regular Justice League title. I think I'm still buying this with the idea that it's going to inform their run on the regular title. There's much to like, the heroes involved are a really odd mix (Congorilla, really?), and the artwork is pleasing to the eye. However, on the flip side, Robinson's dialogue is a bit simplistic (which is really odd for him), and Cascioli art, while pretty, also suffers the problem with all painted art, it feels a bit stagnant and undynamic. A $3.99 price point, without the back-up feature that DC has, smartly, offered (Learn something, Marvel) with their other $3.99 books, doesn't help.

Wednesday Comics #9 (of 12)

Various Writers and Artists.

Three more to go. I'm so torn on this series. I'm, flat-out, in love with the format, and I accept that there will be serials I love (Jimmy Palmiotti and Amanda Connor's Supergirl -Adam and Joe Kubert's Sgt. Rock), mixed with those I hate (Eddie Berganza and Sean Galloway's Teen Titans), or just do not work at all (Ben Caldwell's Wonder Woman, where the main sin is ambition. The art is finely detailed with many, many panels on the one page. The coloring on the newsprint muddies the entire thing. I have no idea where the story is going anymore, because I simply cannot read it.) It's a turkey shoot. Some work, some don't, but the art is almost always stunning. The problem is, at $3.99 every, single week for 12 weeks. It's an expensive Turkey shoot. I hope DC continues this exploration, but I would really suggest a lower price point.

Ultimate Comics Spider-Man #2

WRITER: Brian Michael Bendis
PENCILS: David LaFuente
INKS: David Lafuente Garcia
COVER BY: David LaFuente

I know, I know, I said I was getting off this train. The Ultimatum crossover, and it's path of wanton destruction bored me, and the restart with new numbering, along with the price jump to $3.99 (with no content to compensate...MARVEL, LOOK AT WHAT DC IS DOING!), had left me bitter and angry. Then I read the first "new" issue. Damn you Brian Michael Bendis, once again your utter magic with these characters has sucked me in. Plus, the art by David LaFuente is far more suited to this title that what Stuart Immonen was doing. I'm in, Brian, as long as you keep this kind of quality up....even at $3.99.

New Comic Wednesday 7/29/2009

DETECTIVE COMICS #855 $3.99
Writer: Greg Rucka
Artist: JH Williams III
Co-Feature Artist: Cully Hamner

The second issue with Batwoman as our star attraction. Also the second issue at the $3.99 price point, and The Question back-up feature. Like most of the post-Battle for the Cowl Batman titles, this is holding on pretty strong. Rucka has built a pretty solid story, and Williams' art is amazing.


JUSTICE LEAGUE OF AMERICA #35 $2.99
Writer: Len Wein
Artists: Tom Derenick and Pow Rodrix

So, now it falls on Len Wein to try to make this title interesting. Really JLA has been a meandering mess for months and months, but I hold on. First it was because I knew former writer Dwayne McDuffie was struggling under editorial mandate, and forced to spin his wheels a lot. Then he was fired for speaking out about the situation. I like him a lot.

Now, I'm holding on because James Robinson and Mark Bagley are taking over this title in 2 months, and Bagly is my favorite artist working right now.


WEDNESDAY COMICS #4 (OF 12) $3.99
Writers: Various
Artists: Various

I love this series, I love the concept and the art still looks gorgeous on the oversized pages. That being said the $3.99 price point is a bear for a weekly title. I doubt I'll stick around after the first 12-issue cycle.



ULTIMATUM SPIDER-MAN REQUIEM #2 (OF 2) $3.99
Writer: Brian Michael Bendis
Artists: Mark Bagley and Stuart Immonen

...And, with this issue I can finally jump off this sinking ship. Marvel had one series that I was fully dedicated to, Ultimate Spider-Man. I had EVERY, SINGLE ISSUE. I loved it. Then, they slapped this Ultimatum crossover into the picture, and frankly threw the finely crafted work Brian Michael Bendis was doing on this series into a wood chipper.

Yes, the series re-starts in a couple of months. Stupid foil cover and all. However, I already feel kicked in the nuts. So, bye-bye Ultimate Spidey....I surely loved following your story.

Finallly a holdover released last week:


GOTHAM CITY SIRENS #2 $2.99
Writer: Paul Dini
Artist: Guillem March

I'm not really sold on this series. It's obviously the weakest link in the post-Battle for the Cowl Batman line. This despite one of my favorite writers, Paul Dini. The man was writing the best Batman comics around, in Detective Comics, for the lat couple of years, in the face of Grant Morrison's high-concept misfires over in the Batman title. Dini held the line, telling compelling one-off, well, detective tales.

But this series seems a little off. Almost like Dini is indulging his own fetishes a bit too much.