Crushing Krisis

The Newest Oldest Blog In New Zealand

Archives for September 2011

DC New 52 Review: Superman #1

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Superman has been dangled like a carrot over readers’ noses all through DC’s 52 debut month, from his hot-headed flashback appearances in Justice League and Action Comics to his benevolent present day cameos in Swamp Thing and Supergirl.

The promise was implicit: you’ll get your full dose of Superman in the title with his name on it. Not only that, but that his modern depiction would help to contextualize the superheroes that appeared throughout all 52 books.

Well, we’ve arrived. 51 books later and it’s time to unveil the boy in blue in the present tense – in the capable hands of comics veteran George Perez.

Superman #1

Script & breakdowns George Perez, pencils & inks by Jesus Merino

Rating: 2 of 5 – Uneven

In a Line: “Superman, however, was occupied with other matters.”

#140char Review: Superman #1 is all the reasons modern readers mock 80s comics. Perez way overdoes it on script in this tangled one-shot plot.

CK Says: Skip it

Superman #1 under-delivers, focusing on every possible detail except for Superman. Classic creator George Perez over-scripts this allegory about print media living past the digital wrecking ball. Despite keeping this plot confined to a one-shot and fitting in a super-brawl, this issue was a chore to read.

This issue is too obsessed with text. Do we really need to know all the ins and outs of the Daily Planet’s newfound home in a major media empire? Perez chooses to defray his heavy-handed narrative voice-over by assigning it to in-story speakers, but it just makes things worse.

From the mayor’s overbearing introductory speech to a nonsensical newspaper article that reads like a bad blog post fraught with grammatical errors, Perez presents an unfortunate example of why modern comic readers tend to mock the overly-narrated issues of the 70s and early 80s.

If there is one aspect of the issue safe from criticism, it’s the artwork. Perez’s breakdowns guide artist Jesus Merino to fine issue of art – where’s it’s not obscured by text balloons, that is. A Courtney Cox inspired Lois winds up the star of the issue, and like Cox she’s an ageless blend of leggy starlet and purring cougar.

A one page diversion that sets up Stormwatch makes no more sense here than it would in any other title, except this is the ostensible present-day super-flagship. It’s still awkward.

In a graphic design nitpick, center-aligned narration boxes that contain entire paragraphs are a bad move. Readers don’t want to drag their eyes down a ragged left margin of text in a box. It’s confusing.

Superman #1 is a disappointing delivery given the buildup we’ve seen all month. While I’d welcome a series of one-shot stories showing the Man of Steel in action, I don’t think Perez’s narrative style jibes with Metropolis – especially when the ultra-efficient Grant Morrison is the other scripter in town.

DC New 52 Review: I, Vampire #1

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Comics have been cashing on on vampires since long before Twilight, Buffy the Vampire Slayer, or even Interview with the Vampire.

When interest in super-hero comics began to decline after World War II (and was further assaulted by Frederick Wertham) horror magazines were part of what kept the medium alive. Even after horror comics were censured by the Comics Code, classic monsters still turned up in comic plots.

Marvel’s 1970s title Tomb of Dracula was a mammoth soap operatic battle between Dracula and a bevy of would-be slayers. The 90s brought indie babe Vampirella to popularity, an Elvira-esque busty vampiress.

Marvel and DC have been dipping their toes back into blood for the past few years to see if the time is right to re-capitalize on vampire stories, but neither has quite struck gold. Has the fanged moment passed, in favor of the suddenly hip zombie movement of the past few years? Who knows, but DC and Marvel are both launching a new vampire ongoing this fall to find out.

I, Vampire

Written by Joshua Hale Fialkov, art by Andrea Sorrentino

Rating: 3.5 of 5 – Great

In a Line: “Normally I’d lock you away somewhere until I could find your sire. But, well, y’know…”

#140char Review: I Vampire #1, a bitter Twilight divorce tracks bad romance between noble vamp & lover who wants to consume the world. Unexpectedly arresting

CK Says: Consider it.

I, Vampire #1 is like Twilight written by Anne Rice, disposing of the sappy pursuit of undead teenage love and focusing on the eventual bitter fallout – and how the results can be deadly in the form of a 400-year-old scorned lover who wants to take back the night (and the entire human race) from a plague of superhero do-gooders.

I know that vampires aren’t for everyone, and even the people they ARE for might be a little tired of them after the past few years. That doesn’t change the fact that Joshua Hale Fialkov delivers on both gore and romance as he kickstarts this story from square one.

We get modern day vamp-on-vamp violence of race-traitor Andrew as his vampire slaying is narrated by his recent break with lover Mary. Andrew and Mary have already done the star-crossed thing, and the immortal lovers thing, and now they’re at the point of an ideological divide. Their debate? If you could be a young beautiful superhuman every night for the rest of your life would you content yourself with drinking cow’s blood and working the night shift forever, or would you rather try to take over the world from the masked men who have brightened its corners?

Yeah, it’s a little more complicated than your typical lover’s quarrel, and it has terrifying ramifications for the warm-blooded population of America.

Try to get past the twinkling nearly-nude hot bodies on the cover, which are probably keeping some readers who would dig this title at a distance. The interior art is the ash-colored world of a war comic or Walking Dead, bringing a bombed-out look to Boston at night – where the rubble is a heap of discarded bodies. Despite the loverly narration, we get hints that Andrew is going to be an acerbic post-Whedon anti-hero as he apologizes to fresh vamps for staking them.

The conversational narration has some moments of melodrama, but I felt like they were defused by the illustrations they hovered over. I’m duly impressed with artist Andrea Sorrentino. In the present we have Andrew’s grim vampire hunt through a tangle of limbs. In the past we have a romantic moonlit night that bears the same heavy shadows as the terrifying street scene. Sorrentino likes to draw some horror and revenge into love, Lady Gaga style.

I wasn’t expecting much from this fanged title in DC’s relaunch, but it wound up as one of my favorite books. Whether it’s superheroes or vampires, there is delight in finding a fresh spin on an old story, and I think Fialkov and Sorrentino succeed in this first issue. Yes, reluctant vampires and blood-thirsty lovers have been done before, but not in a superhero universe and not with this tone. It will be interesting to see where they head without the narrative frame they use to keep this one standing, but this bad romance is worth a read.

DC New 52 Review: The Flash #1

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I always wonder – are simpler superheroes simply better?

Take The Flash, for example. On one hand, it’s a snap to translate him across mediums. No dark origin. No alien lineage. No link to Greek gods or convoluted weakness. The Flash is super-fast. That’s all you need to know.

The problem that arises is which way writers take that simplicity. Make a simple hero too pedestrian and he’s effectively a beat cop. try to craft too much mad science and mythology around a simple hero and the concoction collapses under its own way.

DC has visited both sides of the spectrum with The Flash, most recently using him as the impetus for their line-wide relaunch with their special event, Flashpoint. I have no interest in that Flash – running through time with his super-speed.

I refuse to believe that there aren’t enough challenges on Earth a little more complex than bank robberies but still not a synch to solve with super-speed alone. Surely there’s a place for a straightforward hero without making him boring or unbelievable.

The Flash #1

Written and illustrated by Francis Manapul & Brian Buccellato

Rating: 4.5 of 5 – Remarkable

In a Line: “Somebody please tell me I don’t have a homicide with Flash’s fingerprints on it!”

#140char Review: Flash #1 is a magnetic fast-paced tale worthy of its charming hero, w/gorgeous art that’s still comic-y & glows on the page. Good clean fun.

CK Says: Buy it!

The Flash #1 is a beautiful, energetic, fun first issue that frames The Flash as both a hero and a human, who is caught within tricky mystery his speed cannot immediate solve.

Francis Manapul and Brian Buccellato write a seemingly simple story that’s full of deft turns, introducing Barry Allen’s world in layers. First they set the place, then a name, then the nature of their hero, before finally evoking the red frictionless suit to get the adventure underway. You go from zero to Flash expert in a matter of pages – or, at least, expert enough to never feel left out even without a coddling origin story.

I realized all of that after my read was through. What struck me in just a single panel is the beautiful art of Manapul and Buccellato and the intrinsic, compelling link between the art and the script.

The issue practically glows, and I can’t explain why. It’s the mix of Manapul’s background elements that don’t seem to have any lines at all with slick foreground characters rimmed in thick black lines like mascara. They fairly leap off the page.

Meanwhile, Buccellato’s colors don’t look like typical comic colors, but instead seem like color pastels rubbed onto the page and then illuminated from below with a lightbox.

Maybe it’s the gala event Barry is attending at the beginning of the issue, but Manapul’s character designs have the retro simplicity of Mad Man – or, at least, their animated Mad Men Yourself app. His Flash is attractive out of costume, but stunningly handsome in it – a blue-eyed everyman Adonis you can’t help but cheer for.

Flash might be the fastest man on Earth, but that doesn’t make his world any simpler. His hot nerd first date with co-worker Patty Spivot is interrupted by masked mercenaries and he’s being hunted in and out of costume by persuasive reporter Iris West, but first he has to do his job and crime-scene-investigate the merc who mysteriously died after Flash kinda saved him from a deadly fall by throwing him through a building, except for the dead guy is an old friend of Barry’s, which makes their next conversation a little complicated.

Got it? And that’s just in the first half of the issue.

The Flash lives up to its hero’s name with a kinetic first issue that’s easy to consume in a blink, but both the story and the art warrant a more slow-motion read. It sets up a mystery without being a major brain-teaser like some of the other amazing books out from DC this month. What it is is good clean fun in comic form that you can love equally as a kid or an adult – which is exactly the best way to frame a Flash comic. Manapul and Buccelatto seem like they were born to bring this hero to life.

DC New 52 Review: Voodoo #1

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Busty woman have always been a part of the draw of comics, but in the late 80s and 80s it went completely overboard.

Already attractive female characters has their breast sizes increased to the point of physical impossibility as their waists collapsed and costumes became increasingly skin-tight (or, just skin). This trend was perpetrated hugely by Image’s superstar artists, so of course when they launched their own line of books they featured a bevy of those scantily dressed females.

The problem (beyond the obvious objectification) is that when female characters are babes from the concept stage, their origin stories become intertwined with their curves. Voodoo was originally conceived as a regular girl with the super gift of seeing aliens in human bodies … who happened to be an exotic dancer. Her tight outfits, slick figure, and crazy boots were part of her identity.

When a female hero was conceived as a vapid sex symbol, does she really merit their own titles? Like anything else, it has to do with good writing. DC’s relaunch already pilfered a large part of Voodoo’s prior origin – they handed her ability to see aliens walking around in human skin to the rebooted Grifter.

Art previews of the issue revealed many scenes set in a strip club. Did scribe Ron Marz find any other aspects of Voodoo to write about, or are we getting a book about a stripper who … strips?

Voodoo #1

Written by Ron Marz, art by Sami Basri

Rating: 1.5 of 5 – Weak

In a Line: “We don’t need to be doing it from a ringside seat.”

#140char Review: Voodoo #1 wastes intriguing setup & capabilities of Sami Basri art on too many pages lingering in a strip joint. Embarrassing to read. Gross

CK Says: Skip it.

Voodoo #1 is an embarrassing waste of an interesting character concept and an artist who is clearly capable of so much more than nudie pinup pics.

The blame rests mostly on writer Ron Marz’s shoulders. Yes, we get that part-alien Voodoo is a stripper because men can’t resist her and she wants to study their behavior. That doesn’t mean we need to spend an entire issue in a strip club with panels so revealing that I was terrified of reading this comic on the bus.

I choose not to implicate artist Sam Basri too much – he’s just drawing what he’s told. There are only so many non-lascivious ways you can draw a piece of script that must have read, “Voodoo crawls forward on the stage, her bosom practically escaping her skimpy bikini top.” Although, I guess when the background of a panel has a man waving a dollar bill at the ass of a woman hanging from a stripper pole that’s mostly the artist’s prerogative – so I suppose he’s complicit.

When Basri gets a break from drawing cheesecake, his clothed figures are really super – they have the illustrated-from-life effect of the art of Buffy without looking traced from photo references.

There is a story beneath the grossness here, and it’s potentially interesting. A pair of secret agents have been tapped to keep an eye on the clearly otherworldly Voodoo, but one of them is a little impatient to get to the bottom of her mystery.

Unfortunately, the getting to the bottom takes the literal form of a pages long lapdance.

That’s the entire problem with this issue. You can set a story in a strip club without it being disgusting and exploitative. There are panels here that never needed to be seen, even with the script staying entirely intact.

I can’t call this terrible, because of Masri’s engaging artwork and the interesting core concept of Voodoo as a character. I’ll probably check back in for a second issue based solely on that and hope that Marz and Basri have cleaned up their act, but based on this introduction I don’t have a lot of hope for their take on Voodoo.

DC New 52 Review: Aquaman #1

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Aquaman is the Rodney Dangerfield of DC Comics – he doesn’t get any respect.

Mostly it’s about overlap. Aquaman has super-strength and he’s bulletproof, but so is Superman. He’s the rightful sovereign of a mythical kingdom, but so is Wonder Woman.

Where does that leave him? He swims fast and talks to fish. Or, at least, that’s the mocking media narrative that has emerged from Gen X fans who grew up having Aquaman lose every fight they staged with their Super Friends toys.

That’s not to say he hasn’t starred in some fantastic stories in the modern comics era. In fact, Aquaman’s under-the-radar status has allow authors like Peter David to completely reimagine his personality for the purpose of telling exiting, innovative stories.

Here the pen is held by DC’s major architect Geoff Johns, who reinvigorated the Green Lantern franchise but has proven a bit of a bore so far this month. Which way will he take our seaborne

Aquaman #1

Written by Geoff Johns, art by Ivan Reis & Joe Prado

Rating: 3 of 5 – Good

In a Line: “Fish don’t talk. Their brains are too primitive to carry on a conversation.”

#140char Review: Aquaman #1, our hero is mocked from all sides & decides to quit the sea. Funny, mostly saved by great art, no-telling if #2 will be any good

CK Says: Consider it.

Aquaman #1 is self-aware to a fault, giving readers the catharsis of getting all their Entourage-fueled mocking on their hero out on the page where we can all see it.

It’s an amusing approach from deconstructionist Johns, but forcing the real world’s obsession with making fun of Aquaman into a comic is a cheap trick. It’s fun while it lasts, but gives no hints as to why we should come back for actual adventuring in the next issue aside from a few pages about incredible hungry piranha people.

We’re effectively along for the ride in a day of the life of our hero, who is starting to feel the public’s lack of appreciation for him. He foils a bank heist, though the robbers try to run him over and gun him down in the process – apparently unaware that neither will work. The cops don’t understand why he showed up, since no fish were at risk. Later, he stops by a restaurant only for them to balk at him ordering fish – isn’t that like cannibalism?

The utterly pedestrian vibe of the issue has a saving grace in the attractive artwork of Ivan Reis and a bright, colorful set of colors from Ann Reis. The Reises make Aquaman out to be a golden-haired hunk, and manage to render his gold and green swimsuit as credible superhero armor (thanks in no small part to his rather fierce rendition of the trident). Regular people in a restaurant are a realistic mix of dumpy and cute, but Aquaman’s lover Mera is a knockout – their two pages together will almost make you wish this was a romance comic.

While I enjoyed this debut issue for its information dump and poking fun at our hero, it’s just another boringly “different” plot from DC workhorse Johns. While I’m sure he’ll lead this awkward plot to water and the foes within sometime soon, I wish one of the more ACTUALLY transgressive writers in the relaunch drew this straw. However, I can’t deny that Johns’s script delivers some zingers, which together with Reis’s artwork is strong enough to lift this one past average.