Eye on Comics

Batman #667 (DC Comics)
by Grant Morrison & J.H. Williams III

My God, how I’ve missed J.H. Williams’s art. It’s been more than two years since his and Alan Moore’s Promethea came to an end, and we’ve seen far too little of his work since that time. His contribution to this new story arc makes it clear just what we’ve been missing. He captures a sullen mood incredibly well while still presenting some of the super-hero characters as dramatically intense and dynamic. Williams manages to blend a mature, dark and modern tone with the campy qualities inherent in characters whose roots are firmly planted in the Silver Age. Williams makes the notion of grown men in silly warrior costumes seem plausible and almost normal. Dave Stewart’s dark, textured colors are almost solely responsible for the palpable tension throughout the book. Grant Morrison employs a classic mystery/thriller premise and some kitschy, obscure characters from yesteryear and takes them in an unusual direction. The writer opts to present some of the characters are impressive and imposing and others as laughing stocks, pale imitations of the accomplished men they once were or once believed themselves to be. I remember reading about the Batmen of All Nations from DC’s Who’s Who profile series in the 1980s, and I’m surprised Morrison was able to make use of them in such a dark story. In addition to the creepy mood, there’s a B-movie feel to the story as well that makes it all the more intriguing and entertaining. Morrison’s work on Batman has finally lived up to the promise we’d all hoped for when he was announced as the title’s writer. 9/10

Black Adam: The Dark Age #1 (DC Comics)
by Peter Tomasi, Doug Mahnke, Christian Alamy & Norm Rapmund

After reading this comic book, I find I’m a house divided against itself, opinion-wise. Appreciation of the plot hinges on the reader’s knowledge of the events of 52 and issues of JSA from two or three years ago, and it doesn’t hurt to know DC Universe history in general. It makes for an inaccessible script for newer readers, and on top of that, Tomasi’s plot embraces a shocking brutal tone for a book starring a character associated with the Marvel Family. Still, the book is entitled Black Adam: The Dark Age, but I was taken aback by the level of violence in the book. I’m not wild about this darker kind of DC super-hero book, especially at a time that publisher seems to be pushing for a more traditional, brighter tone in its line. Despite those misgivings, I have to admit I was drawn in by the unusual nature of the conflict. Black Adam may be the hero of this book, but he’s certainly not acting like a hero. Turning a brutal, obsessed villain into a protagonist makes for something different. I was particularly interested in the extremist devotion that the title character’s followers exhibit. Given what’s happening in the Middle East these days, that element resonated. Even the heroes who show up in this tale have a darker edge to them; see, for example, Wildcat’s comments about the Second World War, lightly peppered with racism. Mahnke’s exaggerated, hyper-detailed style certainly suits the harsh tone for which former DC editor Peter Tomasi strives with his story. The writer is clearly trying to do something unconventional here, and for that alone, he scores some points. Still, 52 fans who turn to this book hoping to find the once redeemed, now fallen Black Adam will be in for a shock, and I suspect they’ll be alienated rather than intrigued. 5/10

Booster Gold #1 (DC Comics)
by Geoff Johns, Jeff Katz, Dan Jurgens & Norm Rapmund

I really don’t know what to think of this new title. As a kid, I was a fan of the original Booster Gold series; the notion of a not-so-selfless hero was interesting. Unfortunately, writers Geoff Johns and Jeff Katz handle that concept a bit awkwardly here, turning it on its ear by having Booster set out to be forgotten or belittled rather than respected or beloved. The first half of the issue is ham-fisted and off-putting; I was especially disappointed with the slacker characterization for the civilian identity for Supernova. But the premise of Booster as a time cop is an interesting one, and it makes sense, given his origins as a refugee from his own miserable life in the future. The script promises that the title character will be visiting locales and times throughout DC continuity. That appeals to a longtime reader such as myself who enjoys the diversity of characters and concepts the publisher has to offer. On the other hand, I worry that the book could degrade into a fangasm, revelling in past stories and characters to the point of excluding newer readers who might not be familiar with the references. For example, the script goes to pains to reference the various sins and selfless acts Booster has committed over the years to the point that his interaction with the Justice League members borders on schizophrenic. Another story element that didn’t quite work for was Booster’s disdain for Rip Hunter. The art is one of the book’s greatest strengths, if only because it’s a direct acknowledgement of the man who created the character. I would have interested to read a new Booster Gold title written by Dan Jurgens, but I’ll settle for his art. Unfortunately, I think Norm Rapmund’s inks are a poor fit for Jurgens’s usually clean, sleek style. Mind you, Rapmund’s inks, which are normally a bit loose and sketchy at times, are cleaner than usual here. 5/10

Incredible Hulk #109 (Marvel Comics)
by Greg Pak, Carlo Pagulayan & Jeffrey Huet

Understandably, it’s these Incredible Hulk crossover issues that stand out as the strongest tie-ins to the World War Hulk event, and it’s not because both titles share the same protagonist. No, it’s because they share the same writer and the same man who’s guided this vision of the Green Goliath for more than a year. These tie-ins issues focus on the small group of heroes who sympathize with the Hulk’s plight, and as entertaining as the earth-shattering conflicts in the main crossover title are, the character interactions here are far more interesting. So are the characters. Amadeus Cho is probably the strongest character in Marvel’s stable of properties today, and the eclectic mix of B- and C-list heroes who work with him is unexpected but makes for unpredictable dynamics. Still, despite those strengths, I get the feeling that the plot unfolding here really won’t impact the main event as much as I hope; time well time. It’s fitting that Carlo Pagulayan rejoins the title here, given that he defined the look of the series throughout the landmark “Planet Hulk” storyline. Nevertheless, his looser, rougher style, while fitting for the chaos of Hulk’s war, pales in comparison to the detailed intensity we saw from artist Gary Frank on the cover and in a previous issue. I really found I missed Frank’s touch when it came to the interior art. The crisper, more realistic style brought a greater sense of urgency and tension to the story. I’m not faulting Pagulayan; he performs well here, as he always did throughout “Planet Hulk.” I guess I’m just disappointed with the inconsistencies we’re seeing from issue to issue at a key point in the series. 6/10

Ultimate Spider-Man #112 (Marvel Comics)
by Brian Michael Bendis, Stuart Immonen & Wade von Grawbadger

Stuart Immonen takes over the pencilling chores with this issue, the first in a new story arc. The shift in style from Mark Bagley’s is dramatic, and it brings a renewed energy and intensity to the book. Bagley conveyed the title character’s youth and energy with seeming ease, but Immonen’s style isn’t as cartoony, making for a more grounded look for the non-super-hero scenes. There’s a more frenetic pace to the action as well (as brief as it is). Immonen also brings a chilling quality and greater maturity to the scenes featuring the return of the title’s first villain, Norman Osborn. However, I found I was a bit disappointed that Bendis has gone back to that villainous fount. He’s taken Spider-Man in so many original directions that the notion of the typical arch-nemesis conflict just doesn’t seem all that interesting in comparison. There’s a tone at play that would indicate a climactic confrontation between Spidey and the Green Goblin is nigh, but I’d be more interested if we were actually nearing the climax of the series. The continued interpersonal conflicts in Peter Parker’s life remain entertaining and intriguing. The notion of a family-life exercise is entirely convincing. I’m most pleased that Bendis didn’t abandon Kitty Pryde as a supporting character. One might have expected her to disappear after the love triangle plot was resolved, but Bendis acknowledges with her continued role that life is rarely that neat. I love the new relationship that Kitty embarks upon in this issue; it makes great use of another supporting character. I hope we see more of that dynamic in future issues. 7/10

X-Factor #22 (Marvel Comics)
by Peter David & Pablo Raimondi/by Mike Carey, Mike Perkins & Andrew Hennessy

Peter David demonstrates why he’s been an in-demand writer of super-hero comics for so long; it’s because he offers some of the most thought-provoking scripts one can find in the genre. This issue features not one but two socially and politically relevant ideas, brought to life through analogies stemming from Marvel’s mutants. Seeking official endangered-species designation for mutants? Brilliant. Trying to get through to innocent kids being brought up by bigots? Fascinating. Peter David’s original run on X-Factor in the 1990s was lauded for similarly relevant material, notably the storyline involving a prenatal test that indicated the probability one’s child would be a mutant. David’s scripts, as they challenge the reader, they also entertain; the humor is delightful and the characterization is just as novel as the plotlines. Raimondi’s realistic art brings credibility to the sociopolitical subject matter. The artist has demonstrated a strong grasp what’s needed to tell Peter David’s stories for some time now, ever since they teamed on the Madrox mini-series that served as a precursor to this much-lauded series. The “Endangered Species” backup feature fails to capture my interest, but I am pleased it’s not intruding on the regular plotlines and characters. This is the only X-title I follow, so I’m not up on what Mike Carey’s story is all about. Judging by the inclusion of the so-called “Dark Beast,” it doesn’t seem as though I’m missing much. Mike Perkins’s art brings a realistic tone to the story, but his depiction of the Dark Beast is rather awkward. Given the one-dimensional nature of the character and his nature as a distorted version of one of the X-Men, that’s not all that surprising. 8/10