Eye on Comics

Booster Gold #2 (DC Comics)
by Geoff Johns, Jeff Katz, Dan Jurgens & Norm Rapmund

In the past, I’ve often viewed Norm Rapmund as an inker with a gritty, loose style, which works with some stories but not so well with others. With this series, he demonstrates that he can provide clean, crisp inks, leading me to believe the past instances in which I was disappointed with his inking (such as on Jurgens’s pencils for backup features in 52) were the result of rush jobs. Jurgens’s traditional, larger-than-life style shines through here, and Rapmund’s inks don’t darken the storytelling or bring a harsher edge to the visuals. The colors by Hi-Fi further reinforce the sense that this is a straightforward, fun comic book. The writers have happened upon a good use for the title character. Since Booster Gold debuted in the late 1980s, he wasn’t around in early continuity, allowing him to explore it without being “recognized” by better-known characters. Johns and Katz provide a pleasantly accessible script that explains not only early DC history but recent developments such as the “Sinestro Corps War.” There are also minor acknowledgements in the script to lesser-known and less important points of continuity that serve as a payoff for longtime DC readers without alienating new ones. The most entertaining aspect of the book is Booster’s non-violent means to resolve the conflict. The story is undeniably light and fun, and I was entertained. However, I also felt the story was rather inconsequential; that Booster would prevent time from being changed is an unavoidable result. There’s no suspense here. One never feels anything is at risk because the reader knows the writers will end up preserving continuity as it stands. The premise is amusing, but there is that inherent flaw in it as well. 6/10

The Boys #10 (Dynamite Entertainment)
by Garth Ennis & Darick Robertson

Ennis takes a surprisingly grounded approach to the extreme characters that populate this title, and it makes for a much more satisfying read. There’s a problem, though: the script gives rise to the question of whether or not the story is too immersed in an atmosphere of homophobia. Just about every character — Butcher, Wee Hughie, Swingwing, Tek Knight and more — have expressed revulsion or distaste for the sexuality and lifestyles of homosexual male characters. There have been several gratuitous insults thrown around. I’m left wondering… are these just the characters, or is there a problem with Ennis’s writing and viewpoint? By the end of the issue, I have my answer. Ennis finally treats a couple of gay characters as vulnerable human beings, and Butcher and Wee Hughie soften when it comes to their expressions about gays. For example, Butcher doesn’t hate gays, he hates everyone; his vitriol doesn’t discriminate. I think the point is easily debatable, though, and I’d be interested in reading different viewpoints. Even if one were to deem this issue (and the story arc as a whole) as homophobic, it could have value as a launching pad for a valuable conversation about the treatment of gay characters in the super-hero genre (and its periphery, such as The Boys). Darick Robertson’s hyper-detailed art captures both a realistic look for the book and an appropriately extreme tone at the same time. Ultimately, this story arc is about human feeling, and as such, Robertson’s thoroughly expressive style is well suited for it. I like that we get a look at the softer side of the characters; I’m much more drawn to Robertson’s characters during their quieter moments than the over-the-top (though admittedly entertaining) ones. 8/10

Exit Only #1 (Warning Label Productions)
by Matthew Metzler & Lonnie Workman

Perhaps the best description of this mini-comic is the comic-book equivalent of a sketch-comedy/variety show, but unfortunately, we’re not dealing with Laugh-In or Saturday Night Live here. The shifts in scenarios and characters are jarring, and there’s really nothing holding this collection of snippets together aside from the staples. The mini-comic sets out, in part, to satirize certain cliches that are prevalent in the world of comics, but it ends up suffering from the same symptoms that its targets do. For example, the creators introduce a sexed-up female werecat character, the only purpose of which is to shake its tits and naked body in the reader’s face. The writers revel in the obvious nature of the character (named Furball), even writing a sex scene between her and their oddball avatars in the comic. Metzler’s art shows promise at times. He seems to have a grasp on anatomy and how people look when dressed in regular clothes as opposed to spandex, but the characters’ cat-like eyes conflicts with that more grounded look in the art. He also demonstrates he’s capable of some diversity in his art, offering more exaggerated, simpler designs for the comic-strip features. I think he still has some development ahead of him to achieve a solid, professional look, but he’s on his way. 3/10

Note: For more information about this mini-comic or to order, e-mail the creators at exitonlycomix@yahoo.com.

Green Lantern #23 (DC Comics)
by Geoff Johns, Ivan Reis & Oclair Albert

The inaccessibility that plagued earlier chapters of the “Sinestro Corps War” story arc running through this title and Green Lantern Corps is thankfully no more. The script is far clearer about whom some of the more obscure characters and concepts are, but the immense scope of the cosmic war story is intact. The size of the cast of characters is a bit overwhelming, but the action is solid. The plot and dialogue feel a little cliched, and I found the Guardians’ refusal to heed Ganthet’s warnings to be frustrating given the character’s history of being right time and time again. Introducing a threat to the title character’s family feels a bit manipulative; there’s already plenty at stake in the plot so far. Reis demonstrates here that he’s really developed as an artist. His work has grown more and more detailed and realistic; there are key panels in which I was overwhelmed by how much his style has begun to resemble that of Bryan (Ultimates) Hitch. As always, the greatest visual strength in this issue, as with most recent GL comics, stems from Moose Baumann’s brilliant colors. 6/10

Suicide Squad: Raise the Flag #1 (DC Comics)
by John Ostrander, Javi Pina & Robin Riggs

From the Pay More Attention to Detail Department: DC really ought to have made more of an effort to get the official title of the book as listed in the indicia to match the title splashed across the cover. Though the cover leads one to believe this is Suicide Squad: From the Ashes, it’s not. This is not a minor detail. Also a bit frustrating in the script is the omission of how this story fits into the grander scheme of Suicide Squad lore. With Capt. Boomerang’s role, it’s clearly set long before Identity Crisis, but we’re not told how or when. Furthermore, Rick Flag’s status here and in a recent Checkmate storyline seems to conflict as well. Despite those problems, though, Ostrander’s new foray into the world of espionage and crime is thoroughly satisfying. He introduces the core concepts fairly clearly for new readers, and fans of his 1980s series will walk away happy. The same spirit and flavor Ostrander and his late wife, Kim Yale, brought to bear are back. The dysfunctional psyches, the conflicting personalities, Waller’s iron-fisted command style — it’s all so sharp and entertaining. Ostrander provides a further 1980s flashback in the form of the Soviet villains and Cold War tensions. Javi Pina’s artwork brings an appropriate level of intensity to the characters and the action, and Riggs’s inks add a level of polish and detail that makes for a more convincing and compelling look overall. Pina’s art put me in mind of the styles of a number of different and disparate comic artists, such as Doug Mahnke, Eduardo Barreto and Russ Heath. He has a great grasp of these characters and the overall mood of the 1980s series. I was also pleased to see former Suicide Squad artist John K. Snyder III participate in this new project by contributing cover art. It’s an eye-catching image that captures the intrigue, action and personality of the property quite well. 7/10

Thor #3 (Marvel Comics)
by J. Michael Straczynski, Olivier Coipel & Mark Morales

Setting this story in post-Katrina New Orleans probably wasn’t the best idea. The embittered Big Easy resident is absolutely right; in a world of super-heroes, there’s no reason for such a disaster to go unnoticed by colorful champions dedicated to preserving human life. That’s an inherent problem with this scenario… but I have to admit, I’m so caught up in this new Thor story, his quest to rebuild his home and divine family, that I was able to overlook the misstep in the setting. The big reveal at the end of the issue is more than a little predictable but it’s satisfying as well. The confrontation between Thor and Iron Man is solid, addressing not only Thor’s thoughts on the current status of the Marvel Universe and how it came to be but the unimaginable levels of power that a god on Earth would have at his command. Perhaps Thor is established as too powerful here, but his rage, mirrored by the manifestations of his weather-control powers, made for some entertaining reading. Coipel’s art is as sharp and effective as ever. He conveys the huge scope of the title character’s power, anger and presence. The colors are appropriately dark throughout the book, reinforcing a tense and tragic mood. 7/10