Multiversity: Mastermen #1

What an open. I’m certain that I’ve never read a comic where the opening shot was Adolf Hitler reading a comic and crying on the toilet. Holy cow. That’s a statement!

We’ll lead off with the artwork, because it is pretty rare to see Jim Lee drawing a full comic these days, and I believe this is the first time Lee has worked with Grant Morrison. (Or am I forgetting a previous collaboration?) Lee does a nice job with the art, as always. His redesigns for the Nazi Justice League aren’t off-the wall creative, but they certainly get the point across. I particularly enjoyed the blonde and Aryan Wonder Woman. Most interesting to me is seeing Leatherwing, the evil Batman. Even that variant makes me miss seeing Lee’s dynamic Batman in action regularly.

Morrison comes out with a bit of nature vs. nurture here. The Nazis raised this alternate Superman into Overman; an evil tyrant. Yet as we see him age into adulthood, he clearly retains some of Superman’s inherent goodness. He has done some bad things and supported the wrong side, but it clearly weighs on his soul. It’s neat that Morrison loves Superman enough to write him like this.

As for the Freedom Fighters? Uncle Sam is more of a rebellious leader representing a forgotten America. The Human Bomb gets a few moments to shine. The rest of the team is reduced to one (admittedly cool) splash page. That’s OK, this is a book starring villains, where the heroes get the page count reserved for antagonists.

Should I be embarrassed that I think I finally understand the structure of these Morrison Multiversity books? Let’s start with the obvious; each issue shows us a glimpse of an alternate Earth, complete with its own set of super heroes. And again, it is obvious that at least one member of the Gentry will show up, sewing chaos and discord on that Earth. What is unclear to me is the role the multiple versions of Dr. Sivana serve. Is Sivana working for the Gentry? Do the Gentry work for him? Is Sivana incidental or integral to the greater Multiversity plot?

Now, for the first few issues, I was annoyed at the cliffhanger endings. In almost every case, the book ends with an apocalyptic scene clearly caused by the Gentry. SOS had the huge invasion. Justice League Me had the Superman robots turning on humanity. And this issue has the Nazi League satellite crashing into Metropolis as the world is tossed into chaos. Each issue ends at about the same point, with little to no resolution for that issue’s plot. I had hoped to see some sort of progression as we moved along, but I don’t’ think we are going to get it. Instead, I think the true conclusion will be in Multiversity #2 (much like the structure of Seven Soldiers). That leaves me with one big question: Will we even see these characters again at all? Will they play a part in Multiversity #2? Will we just follow President Superman and Nix Utoan? I’m curious.

So, like the other Multiversity issues, this is a glimpse of an interesting world with unique takes on the DCU’s heroes and villains. And just like every other issue of Multiversity, I am left wanting more. I want to know how the story ends.  

This is a FAIR comic; I just wish I had more of the story. Even when the set up is simpler than most of the other Multiversity titles, I’m still more interested in this than the new 52.

Multiversity: Thunderworld #1

Once again, Multiversity and Grant Morrison deliver a comic that I wish I could be reading every month. Let’s face it; each and every issue of Multiversity has given us a book superior to many of the monthly comics published by DC comics every month. But while many of the Multiversity issues have been good, a lot of my enjoyment has been conditional. There have been some big issues that kept me from loving the issue as-is. With Thunderworld, I have no such problems.

Morrison’s Captain Marvel is a smart and dynamic hero in a world full of excitement. Morrison dodges the gritty, modern sensibilities that Geoff Johns emphasized in his modern reboot. Instead, Morrison embraces the joy, optimism, and excitement that happens when a little boy, his sister, and his friend transform into the world’s mightiest mortals.

Focusing on the Sivana Family rather than Black Adam, Morrison leaves plenty of concepts un-mined for future follow-ups (that I can only dream about). The alliance of Sinvanas from multiple dimensions is handled so well that I found myself amused and spooked while reading the same panel. It is hard to laugh at the spooky, murderous Sivana who seems obsessed with Mary Marvel after only a glimpse. (That is probably the New 52 Sivana. Seems about right, doesn’t it?)

Cameron Stewart’s bright artwork works perfectly with the classic tone of the story. Stewart gets to really show off when the villains of the monster society show up. Mr. Mind, Sobek, and more show up looking threatening, but at the same time each of them could have just stepped from a well-drawn Saturday morning cartoon. I’m also tremendously pleased with the backgrounds. Stewart makes Fawcett City and the Rock of Eternity feel like fantastic places I want to visit. The locations almost steal the show from the tremendous figure work!

This is another GOOD issue that just reminds me that I used to love DC comics. Can I hope that after Convergence we might get some new monthlies set on these alternate Earths? I really want to read about these characters again. 

Multiversity: Pax Americana #1

Well, no one can accuse Grant Morrison of pandering. I consider myself a fairly sophisticated comic book reader, but this was a difficult comic to get through. In addition to the unique presentation of the story (Morrison starts at the end and works backwards), the art is a challenge as well. I noticed that the sense of motion on the page was unique, but it took interviews for me to realize that Morrison was explicit in his instruction to artist Frank Quitely. Most if not all of the pages lay the motion out in a figure-eight style; infinity on a comic page.

There are a few ties to the overall Multiversity plot, but more than any of the other one-shots so far, Morrison seems to be telling a self-contained, experimental story. Clearly, Morrison is challenging himself (and his readers) with this one-shot. That might even be more of the goal than furthering the Multiversity core plot.

I have a ton of affection for both of the “sources” for this issue. I love the Watchmen; it blew my mind when I first read it. It obviously still holds up as one of the best stories ever. But at the same time, I have sort of moved away from the dour, grim, and depressing attitude that permeates its pages. Alan Moore’s intellectual exploration doesn’t accept much of the inherent joy of super-hero comics. And that is the tone that Morrison is directly channeling here. Captain Atom isn’t really Captain Atom in any way I recognize. He’s totally the distant, thoughtful Doctor Manhattan.

That brings me to the other source. The Charlton super-heroes. My exposure to them began in DC comics, the versions of the characters we see here are in no way related to their DCU counterparts. They have the same mental afflictions, guilt, and neurosis of the Watchmen. It is almost painful seeing Quitely’s beautiful take on Blue Beetle, Nightshade, and Peacemaker, but to see the characters in such a unique and off-putting presentation. This is Rorschach, not the Question. This is Nite Owl, not Blue Beetle. Heck, in a world that produced a million Before Watchmen titles, I wonder why DC didn’t just make an Earth-Smiley for the Watchmen to live on.

This is a challenging, challenging read. Much like the issue of Earth-Me, this comic takes characters I am very fond of and presents them in a way that really leaves me wanting more. This is good stuff. The story is interesting. The art is absolutely wonderful and immersive. But man, am I the only one who finished this and thought “man, I’d really like to read about these characters in a normal book?”

So I probably sound like a moron. I can accept that. This is a comic that simply must be re-read in order to understand Morrison’s message (or even get close). I understand sales were insane at my comic shop, I wonder how most people responded to this? Surely the average new 52 fan isn’t keen on treating a comic book like a college-level English discourse?

This is a GOOD comic, because it is so challenging. But I can’t give it an EXCELLENT, because Morrison is determined to make me work while I read. This comic isn’t one for relaxing and unwinding. You’d better bring some paper to take notes. 

Multiversity: The Just #1

For Halloween, let’s review a comic that really scared me! Grant Morrison’s Multiversity: The Just #1 scared the heck out of me because it reminded me how OLD I am!

Whatever else the new 52 has done, it really made me forget about a lot of my old favorites. I’m in the generation that had Wally West as Flash, Kyle Rayner as Green Lantern, and Connor Hawke as Green Arrow. Alpha Centurion was a rival to Superman. There are dozens of cameos of characters that I like more than their counterparts in the New 52. Max Mercury. Steel. Argus.Tempest. Heck, even Artemis as Wonder Woman is OK by me!

So yeah, this book made me feel really old because it made me miss characters and versions of characters I know we’ll never see again. Sure, it also has Chris Kent and Damian Wayne as the new Super-Sons, and Alexis Luthor mixing things up, and they aren’t flashes from my past like the rest, but they fit in well with the story. I know the Super-Sons are the protagonists of the story, but I would have liked a tad more time with some of the other old-timers from the ‘90s.

The actual plot continues in the same vein as the other Multiversity titles. A haunted comic book has interrupted the idyllic world of Earth-Me. In a world where Superman’s robots keep the peace, having powers is more about staying busy and being entertained than it is about saving the world. When the awesomely named Megamorpho commits suicide, it throws the entire super-community into a tailspin. Our first window in is the fantastically titled “Sister Miracle.” Morrison makes it look so dang easy to do these great legacy names!

The haunted comic book is influencing the world, causing villains to do bad things and heroes to doubt themselves even more than usual. There is barely any conflict in the issue, unless you want to count middle-aged heroes struggling with ennui and younger ones struggling with fame. Each of the Multiversity titles has left me wanting more, but this one… man, when the Superman robots are unleashed on the world, do the heroes have a chance? Are we to assume that the Gentry’s haunted comic book has destroyed this world? Or can the struggling heroes maybe stand up for themselves (I certainly hope so).

Ben Oliver’s art excels in some areas, but lacks in others. His figure work is great, but the facial expressions are unbelievably good. In a medium where facial features are hard to do right, Oliver nails it, giving different ages, outlooks, and personalities different facial structures, expressions, and body types. Just top-notch stuff. The backgrounds are lacking, which could be by design. Instead of a fully-realized alternate world like in Society of Super-Heroes, this feels a lot more dreamlike. The lack of backgrounds and extensive use of color makes this issue sort of flow by in a haze. Perhaps that was the intent, but I would have liked a bit more of a glimpse into this alternate world.

This is another GOOD comic in a string of them for the Multiversity series. I can’t wait to see what’s next. 

Multiversity: Society of Super-Heroes #1

This is sort of a hard comic to review. As usual, Grant Morrison is biting off a huge task in his comic book work. This one issue has to set up a parallel Earth, complete with alternate history. It needs to establish a new world of super-heroes and villains. It needs to tie into the greater threat of the Gentry from Multiversity #1.

Heck, in addition to all of that set-up, we also need an actual story, complete with rising action, climax, falling action and resolution. Morrison ALMOST pulls it off. The problem is, as near as I can tell, the story just abruptly stops in the middle of what I’d call the climax.

The Society of Super-Heroes, or S.O.S is a pretty easy to like group. Led by the enigmatic Doc Fate (sort of magic-powered pulp version), the Iron Munro-trained Atom, a very alien Abin Sur, a squad of Lady Blackhawks, and a fascinating Anthro the Immortal Man, the group covers a lot of bases. Abin Sur’s Green Lantern is pretty dang powerful, but the rest of the folks seem pretty grounded in pulp sensibility. 

Doc Fate gets a lot of dialogue, but Anthro seems to anchor the story a bit more. I was immediately interested in the Immortal Man’s long-view perspective and outlook. When he gives a piece of jewelry to one of the Blackhawks, he states he’ll just go get it back after its current home crumbles. That’s a long view!

The villains are ostensibly working for the Gentry, the main villains in the Multiversity series. Fate describes the situation involving Nix Uotan and the Gentry pretty well, although I’m never quite sure if the main story involves those weird creatures or not. Felix Faust is powered by their dark energies, but Vandal Savage, Parallax, Lady Shiva, and Blockbuster all seem to be motivated by their normal desires. At one point, Vandal Savage declares his desire to be pirates invading other Earths, “Prepare to board!”

Like everyone else, it is hard not to comment on the similarities between the invading parallel Earths in this story and the ongoing, multi-year marathon that Jonathan Hickman is writing over in Avengers. I certainly hope that this story runs a lot faster, though. I can’t stand the idea of waiting 5 years to see this one resolved too. As long as the story inches forward in each of these one-shots, I'm not going to complain too much.

In a story like this, with relatively few pages to establish an entire universe and continuity, there is a heavy burden on the art. Chris Sprouse is up to the task. The WWII-era pulp setting is clearly established from page 1 forward. The architecture, vehicles, and even the tone of the action (established in script, of course) sell the alternate reality. Sprouse’s character designs are great. The almost formal look to many of the characters (including Atom and Sinestro!) lends dated feeling to the proceedings that enhances the alternate universe concept.

$4.99. Dang. I didn’t even notice that at the shop. The book is 40 pages, so I just need to remember that this would have been a “prestige bookshelf” book back in the day. It is certainly GOOD enough content to justify the price.  

Happy TPB

So Grant Morrison really wanted to try to write a Garth Ennis story, huh? He even went so far as to get frequent Ennis collaborator Darick Robertson to give him a hand. The result? A violent, profanity-filled one-off story that would be in the lower tier of Ennis’ work. This book is a good reminder that people should stick to what they do best.

Nick Sax is such a dislikable character, I almost feel like Morrison is trying too hard. Heck, he’s described as a “c-word” on the opening page. The story is so predictable that anyone who has read a book before knows how Sax’s character arc is going to go. There isn’t really anything original enough about his descent into the gutter and eventual redemption to make it memorable.

I suppose the titular “Happy,” the unicorn/Pegasus horse that inspires Sax’s journey is a bit memorable. He’s a floating cartoon that only Sax can see, one that can help him cheat at cards and punch thugs’ teeth out. That contrast should maybe go a bit longer than it does. Maybe it is because I already knew the concept behind the series before starting it, but I never found the cartoon/violence mix to be that striking or amusing.

Morrison usually really shows off with his insane villains. But Mr. Blue isn’t memorable, and pervert Santa is too much of a cliché at this point to be impressive. It is another swing and a miss.

Robertson’s art is gritty and realistic, with cartoonish ultra-violence. He excels at it, of course, but again, there is something missing. The sheer joy of The Boys is missing. It seems like Robertson is going through the motions too.

If you want a POOR take on better comics, you can check this out. But I’d rather read Garth Ennis’ filthy book and Morrison’s mad and wild ideas in separate titles. 

Multiversity #1

Man, I am totally a sucker for the oddness of Grant Morrison. I can be down on the New 52, unengaged with the DCU as a whole, and here I am, thrilled to see the next chapter from DC’s mad scientist.

It doesn’t hurt that this book barely counts as a new 52 (if it does at all). The Superman on the cover is President Superman from another Earth. He teams up with characters like Dino Cop (Savage Dragon?) Captain Carrot, and Aquawoman. These aren’t the New 52 versions of anyone; these are just kick-butt new heroes and analogues. Best of all, it is very easy to find yourself rooting for this random group of champions as they stand against the darkness.

Final Crisis’ Nix Uotan shows up too, as the Superjudge. He’s got a definite super-hero vibe going, and it is impossible not to root for the guy as he saves another hero from the series’ villains. The Thunderer is a great new addition too, and he actually has a much easier time of it than our poor Nix.

The villains. Oh my, the villains. They are absolutely horrific, these cosmic-level threats to the entire omniverse. The Gentry are absolutely wonderful. Their dismissive text-speak is threatening and unique from the very first quote. “We want yu. We want yu 2 give up yr dreams. We want yu 2 abandon all hope. We want 2 make yu like us.” That’s a horrifying villain!

The designs by Ivan Reis are a mix of Lovecraft and Tom Mandrake, absolutely perfect for comic book antagonists. These guys look Shuma Gorath and other Doctor Strange villains rebuilt to face down the Justice League. I can’t understate Reis’ design for the different heroes too. In addition to the mixed up cosmic team from the Hall of Heroes, he also gets to introduce the “Avengers” of Earth 8. Even casual readers can recognize the analogues immediately, and of course, the Hawkeye one captured my attention first.

So one issue in, we’ve seen a couple Earths. Earth 7 is the Thunderer’s Earth, and it has already fallen to the Gentry. It seems Thunderer might be the only survivor.

Earth 23, home of President Superman, our point of view character and protagonist. He’s a cool hero, taking absolutely everything in stride. Nothing surprises him in this whole issue.

Earth 8 is ALMOST the same as 7. Home to the Major Comics style heroes, who are remarkably similar to the Avengers. (Lord Havok as Dr. Doom is pretty dang awesome.)

But the BEST thing about this EXCELLENT comic? That the narration boxes are screaming warnings and threats at the reader. Morrison is crazy, but man, he makes fantastic comics. 

Batman Inc. #9

So now I’ve reached a new point in my DC New 52 titles. I am still getting my mail-subscription issues of Batman and Green Lantern, but I’ve actually stopped reading them. They are starting to pile up as my interest level in those books drops. As those titles get more and more disconnected from the DC I know and love, I can’t make myself care.

That is not a problem for Grant Morrison’s Batman Inc.

Unlike the other titles, Morrison ignored the reboot and has been telling his long-form Batman story for years now. This is one masterpiece that stretches back years and years.

Damian Wayne died last issue, killed by his “brother” the unnamed (I believe) flunky of Leviathan/Talia Al Ghul. That guy has always given me a Bane vibe, and that is even stronger this issue when he threatens to break Batman’s back. It takes the combined skill of Batman, Nightwing, and Red Robin to just get away. Unfortunately, that leaves Wayne Tower in the hands of the baddies, and Gotham City in a general state of chaos.

Since this is called Batman Inc., we get to check in on the larger cast, too. After Knight’s death two issues ago, his sidekick steps up and takes his place, with the Squire becoming the new Knight. I’m pleased, it looks like she is going to be a part of the final battle, along with a few of the other more prominent Batmen. We also see Jason Todd’s predicament; it looks like he’s surrounded by Talia and other attractive ladies. I’m confident Jason can resist the temptation to turn sides.

Chris Burnham should be really proud of himself. He came in after Frank Quitely established the look and tone of Morrison’s run and he’s carried the torch. I’m enjoying his stuff at least as much as Quitely’s now, even though Burnham is clearly aping the other artist’s style. .The scenes with Batman marching through the rain carrying Damian’s torch are touching and ominous, and the scene where Bruce “suspends” Alfred is heartbreaking and raw. Great work.

Good

Action Comics HC 1

This was far and away the most impressive of the new 52 debuts. Honestly, Grant Morrison's "man of the people" take on Superman was one of the best premiere issues I've ever read. Seeing Superman running and leaping through Metropolis, taking it to the fatcats while sticking up for the working man? That's my kind of Superman! Unfortunately, that take really only lasts about two issues before things got out of whack and the new 52 reared its ugly head. 

To make matters worse, DC had to correct the order of the issues in the collection. Instead or the normal publishing order, DC presents Action Comics issues 1-4, 7-8, then 5-6. I thought this seemed to read a bit more clearly than my first few floppies did. Honestly, if DC felt the need to do this in the collection, how much of a mess must this have been monthly? 

Anyway, there is a lot of good stuff in this collection. Even though I've got my problems with the new 52 (and I've stated them exhaustively before), seeing Morrison's mad ideas and new take on dialogue is still entertaining. Brainiac is reborn as the Collector, gathering bottled cities in mint condition and trying to gather the last Kryptonian. Lex Luthor is an overconfident business man out to protect our planet from an invasive species. Clark Kent is an investigative journalist fighting for the little man with a very interesting source giving him the inside track. 

Morrison has been using his new grunt-dialogue in Batman for awhile, and it works nicely here in Superman too. There are a ton of "Nnng." And "Rrgh"'s going on, every time anyone struggles. It's a neat contrivance, adding a layer of realism to the word bubbles. As long as it doesn't get overused, I'm a fan. 

Regarding the new 52? I don't like the new Metallo origin. I despise the new Superman costume/armor. I don't like the redesigns of classic Superman villains. Steel looks ridiculous, why would you mess with the classic? I'm not sure I like Steel being a contemporary of Superman either. Too many good stories and origins are wiped out with the reboot. Sure, the Legion of Super-Heroes story generally still works, but we just saw it written by Geoff Johns a few years ago. The best parts of this collection; the mad ideas, the dialogue, the re-telling of the origin; they all could have worked in the old DCU. 
And the art? It is a mess. Multiple artists fly on and off the pages. I assume it was to meet deadlines but Rags Morales' art starts out spectacular and ends with a rushed whimper. Brad Walker has to come and draw the big splash page featuring the terrible armor. Brent Anderson is drawing all the non-Superman pages, alternating multiple times an issue. I actually like all those artists (and Andy Kubert, who does the Legion story), but man, it is tremendously jarring seeing them bounce around from page to page. At this point, I'm almost used to the art fluctuating issue-by-issue; page by page takes me right out of the book. 

Fair

Batman Inc. #8

SPOILERS AHOY!

Man. When Grant Morrison gets to tell his story all the way through, with a solid artist, there is no one better.

I’ve read that Morrison promised to leave the Bat-universe as he found it. That means no Damian, no Batman Inc. (I assume) and everything back to normal. I respect that, but I’m going to miss Damian Wayne a lot. Unlike a lot of my comic-reading friends, I loved Damian from the start. I found his poor attitude hilarious, and I was fascinated by the relationship Damian formed with Dick Grayson. Seeing the two of them function as Batman & Robin was a joy.

I think Morrison found it that way too. Damian has one hell of a send-off in this issue; he saves pretty much all the other Robins, he fights off crowds of bad guys, and he even gets a moment with Grayson. It’s a nice, quiet moment between explosions where the two of them get to acknowledge how much fun they had working together as the caped crusaders. Perhaps Damian is a bit mushier than normal, but it is totally worth it to see the two buds charge into the maelstrom together one last time. A wonderful, touching scene; it is my favorite in the comic.

But the death scene is great too. Rendered in unbelievable detail by Chris Burnham, Robin goes down fighting. His bulky brother (who still reminds me of Bane) is a tough opponent, and the two of them shred each other attempting to win. During the whole conflict, however, Damian is being shot with arrows and bullets. By the time the fight is wrapping up, Damian is bloodied, tattered, and spitting blood. Burnham does a great job making Damian still look like a kid too, making his death all the more tragic.

I find it to be a fascinating decision that Damian’s “goodbye” is with Nightwing, not with Batman. Bruce Wayne will never have the chance to say goodbye to his son. Damian’s mother, Talia Al Ghul/Leviathan? She could have saved Damian or at least said goodbye. She does neither.

Excellent

Batman Inc. #5

Only Grant Morrison could pack a comic with this much nonsense and still have it come out ALMOST making sense.

I have a lot of friends who don’t care for Morrison’s writing, and this issue is a pretty good example of what they don’t like. Popped in the middle of an ongoing storyline, this issue takes place in an insane future where Damian Wayne is Batman, the Joker has taken over Gotham, and Barbara Gordon is now the wheelchair-bound commissioner. New characters pop up in bit parts, and while they are interesting, there is no context for anything. It’s just a mad dash of ideas, and Morrison is just counting on the reader to go along for the ride with no concept of the meaning or repercussions of the action.

Eventually, the book circles back to Batman Inc. for one page. The team is trying to take out a Leviathan base, but Talia is ready for them. It doesn’t look good for our team, but I can’t imagine they’d kill popular supporting characters like Batwing, Knight, or Squire. But seriously, we only get two pages of this? The rest of the issue is either a fantasy or a prediction, either way, it’s just weird.

Chris Burnham makes everything work. His future Batman is tricked out with a sweet costume and fantastic new toys. The last hold-out of order in Gotham looks claustrophobic and desperate. I’m a little blurry on the mysterious man giving the president orders, but I assume that’s in the script. My problems with this narrative have nothing to do with art.

Fair

Batman Inc. #4

Yee haw! Grant Morrison still writes comics that remind me what I love about the DCU. Batman/Matches Malone gathers up his Batman Incorporated allies for a major strike on the League of Assassins. The only really recognizable member (and real threat) is Merlyn the archer, but even he is no match for this many Batmen. Hood, El Gaucho, Nightwing, and more all show up for some sweet crowd scenes. Hood and El Gaucho actually get some time to themselves to banter and show off, as does Batwing. I’m glad Batwing handles such an important task; I like the idea of an armored bat-dude who uses a lot of tech.

Wingman’s secret wasn’t obvious to me, but that’s mostly because I selectively delete this character out of almost everything he appears in. I didn’t like him around in the real DCU that we still see in this title, and I sure don’t care about him in the DCnU. So while I appreciate the swerve, I wasn’t in love with it. I do like that Morrison is confusing his son Damien so much. That poor kid is going to be messed up forever from all the manipulations his parents put him through.

What can you say about Chris Burnham? Like a few other recent artists, he’s got a fantastic blend of famous artistic styles. His art just sings off the page during the combat scenes, with the Hood and Gaucho’s sequence stealing the show. Look at the different ways the Batmen move, with Wingman’s haughty, arrogant walk. Look at the detail in the panels, the books on the shelves in the background while the characters are duking it out in the foreground. This thing is just gorgeous.

Excellent

Batman Inc. #0

I love that Grant Morrison just gets to ignore the reboot. He stated as much at Morrisoncon over the weekend, and you can see its true here. The Club of Heroes, the Black Glove, everything that was in Batman’s history is still there.

Interestingly, this is co-plotted by Grant Morrison and regular artist Chris Burnham, with Frazer Irving providing his fantastic art. As is typical in Morrison’s current work, this issue hops locations and times to great effect. We already know who joins Batman’s big team, but with this flashback we actually see the invites. It’s a great glimpse into a lot of characters that don’t get a lot of screen time. I always enjoy Knight and Squire, and Man-of-Bats is just great. Making his a loquacious speaker just makes him cooler!

I also appreciate Morrison tying in the original support system utilized by Batman: trusty butler Alfred.

Frazer Irving’s moody artwork works in just about everything. He’s a great fit for the Bat family. There are a ton of characters in this, and they all look fantastic.

Good

Batman Inc. #3

Man! I’m so happy that Grant Morrison gets to ignore the new 52 reboot. I’d heard this was the “new 52 introduction of Matches Malone” but it really isn’t. The old Matches stories still happened; this is just the next chapter in Morrison’s Batman epic. Heck, if it wasn’t clear enough in the dialogue, the enormous web of Leviathan’s operatives makes it clear this book is just continuing along as it always has. Yee-haw!

This thing is so full of ideas; new villains, the Bat Cow, new super-heroic IDs, wonderful guest stars, wonderful cameos. I mean, this book is packed with value for your $2.99. Lumina Lux certainly has the look and the name to be a recurring interest for Batman, so I’m hoping she can sit around. And is that El Gaucho doing a Bueno Excelente impression from Hitman?

And it wouldn’t be a Grant Morrison comic without some insane villains doing some crazy things. We’ve got the Hangman, Goatboy, and some Punch-like Judge showing up by the end; who knows what’s next? Morrison’s wonderful conspiracy at the open of the book is great too. Leviathan has infested Gotham!

Chris Burnham’s work is a revelation. His use of sound effects on panel (“Scram” and “Clang” come to mind) is so much fun, it’s Steranko-ish. And as for Redbird, the design is great; it’s not easy to make Damian look so young AND so dangerous, but Burnham does it perfectly.

If DC is curious why their Batman books sell so well, the answer is simple; it’s not because of a rebooted continuity, it’s because of fantastic creative teams.

Excellent

Seaguy: Slaves of Mickey Eye #1-3

What happened in this series? I don’t know.


Why did Sea Guy’s allies change from allies to enemies? I don’t know.

How did Chubby Da Chuna return to give Sea Guy advice? I think I know, but then how can other people see him?

What is the secret of the outside world that so bothers some of the cast? Unclear.

How did that tiny moth create a wave of flame that destroyed the city? Don’t ask me.

So clearly, I don’t understand a lot of what Morrison is doing in this title. But much like the first Seaguy mini, I absolutely love the book. There is a palpable sense of sadness and loss just permeating the book. I don’t understand the Post-Dad world, but clearly Mickey Eye is a cruel corporation/mascot, and I’m glad Seaguy finally stands up to him.

Unlike some mysteries (like LOST, Prometheus, or Final Crisis) I don’t feel like the parts of the story lessen my experience. Morrison has plopped us into a strange, uneasy world, and much like Seaguy, we’ve got to do the best we can.

Is this what Invisibles is like?

Cameron Stewart does such a great job with this book. The oddball ideas and characters pop out on every page, and he sells it. Heck, I even believe that Seaguy’s alternate career is possible; soon there will be bull-dressers in the real world too.

Good

Batman Inc. (2012) #1

The best of both worlds, folks. Grant Morrison gets to re-invent Superman with a totally new origin and attitude over in Action Comics, but over in the Batverse, things keep on trucking like the reboot never happened. At least, when I read this issue, I sure couldn't find anything that diverted me down any of my normal paths of annoyance about the reboot. Dick Grayson was still Batman. Leviathan is still Talia Al' Ghul, it's all like the last series never really ended. And I'm not complaining one bit.

When I say Morrison picks up where he left off, that was a mighty fine place to be. The first Batman Inc. series had many wonderful issues, thrilling, non-traditional stories that showed off what makes Grant Morrison so great. Sure, he's basically abandoned linear storytelling at this point, but when the stories are this strong, I'm fine with it.

Damian Wayne is a little snot, but he's our little snot. That is very clear as I read this issue. I absolutely love his sudden affection for animals after the battle in the slaughter house; and his new Bat Cow is a nice nod to Tiny Titans. (Of course, I was reading this issue with my daughter next to me, I told her they were fighting in a paint factory. DCnU: Gallons of blood in each issue!)

Goat Boy is a great new villain, and a surprisingly mundane and human one considering how weird he looks. I'm not sure he has the staying power of Professor Pyg, but there is defintely potential in a goat-headed cabbie with a rocket rifle, wouldn't you agree?

And Chris Burnham. How the heck did this guy get so good? He's basically turned into Frank Quitely Jr. while retaining his own style too. I'm never sure how much credit to give guys who are excellent mimics of other great artists, but man, I love Burnham's art from cover to cover.

Excellent

Batman: Leviathan Strikes #1

I did not understand this comic.

(It was very pretty, the art was top notch. Cameron Stewart is always great, and Chris Burnham art looks so much like Frank Quitely's, I can't believe it. And actually, I did enjoy the opening chapter with the charm school for assassins, but man, once Doctor Dadelus showed up, I was through. The helpful recap couldn't even clear it up.)

Fair?

Action Comics #3

Gene Ha is a fantastic, talented artist, but I just can't make myself care about yet another version of Krypton. Maybe it was a mistake to read Secret Origin and New Krypton so recently, but after all that stuff, none of Morrison's new ideas feel "real." In fact, I'm having that problem with the whole relaunch. I'm probably just showing my age, but I'm now more invested in the Brave & the Bold cartoon than I am in the DCU.

Grant Morrison still has a great eye for the dramatic. I love the raid on underground reporter Clark Kent's apartment; it makes sense that powerful men would have a problem with this Kansas kid stirring up so much trouble. And the land-lady development is a bit surprising too. It's neat seeing that when an underground hero like Superman starts challenging powerful men, they'd dedicate their non-physical weapons against him. How can Supes overcome the media and bought-off folks on the street? I'm not sure I buy that this could happen so fast, but it's still a neat idea.

Is this green-robot force a new Brainiac? That's the only thing that makes sense to me, but again, doesn't this feel a lot like New Krypton and Secret Origin? I did like seeing the new origin for Metallo, but I still prefer John Byrne's Terminator design.

Rags Morales' art seems a bit rushed this time, with faces a bit less defined than we normally see from him. Gene Ha's art is gorgeous, as I said.

I'll tell you what, canned interviews is not going to cut it for extra content. I refuse to pay $3.99 for 20 pages of story (with three or for splashes). Because of those prices, I'm going to be switching this to a digital purchase when DC has their 99cent sales online.

Fair

Action Comics #2

Poor Clark is strapped down for a lot of this issue, so he doesn't get to leap and bound around the pages like he did in issue one. And since the lead character spends most of the issue in a chair, we naturally get to spend a lot more time with other characters as Grant Morrison re-imagines Superman's supporting cast.

Lex Luthor gets a lot of face time. I like the way he's equally parts cruel and paranoid about Superman. He clearly enjoys torturing Supes, but at the same time I think he's actually afraid of the reasons Superman came to Earth. Seeing John Henry Irons is fun; I hope there will be a Steel in the DCnU.

The Lanes get some pages too (most of which are drawn by Brent Anderson, I think). Lois is still pretty awesome, she's manipulative and clever, and clearly she usually accomplishes her goals. It seems she still has some ties to John Corben, the once and future Metallo (who gets his own seeds planted here). I think we're also getting our first glimpse of Brainiac on the last page too.

It's odd, but as all those classic elements start to show up, I can't help but lose interest a bit. Last month I felt like I was experiencing some sort of crazy, new Superman. A high-powered young man out to right the world's wrongs without spending too long thinking about it. When Brainiac, Luthor, and Metallo start showing up, I feel like I'm seeing the same old Superman, just with different creators. How is this different than Geoff John's recent Secret Origin mini?

Rags Morales' art is inspired once again, and I do like Brent Anderson's work, but together they are not such a great mix. Especially when opposite pages have different artists. Rags' kinetic Superman is escaping from prison, and suddenly there is a more bulked-up Supes standing in the elevator surprising Lois. It doesn't quite work.

I should mention that this comic is short. I think it has 20 pages of story, a few pages of admittedly interesting back-material, and the price is $3.99. I'm afraid that's not going to cut it for me.

Fair

Action Comics #1

Superman is a bully! I love it!

When I read that Grant Morrison was re-telling the origin of Superman, I was sold. Factor in the dynamic Rags Morales on art, and I had some darn high expectations. Action Comics #1 certainly meets, if not exceeds, those expectations.

Superman is a young man here, and he’s got a young man’s sense of invincibility and righteousness. The problem is, he’s got the super-powers to back up those beliefs. Supes literally zooms around Metropolis sticking up for the little man, tossing around corrupt businessmen and demolishing construction equipment. His heart is the right place, but man, that panel where he drops from a building leading with a prisoner? That’s one ruthless Superman! (I love the report of how Supes dealt with a wife-beater too!)

Morrison’s reboot includes the driven reporter Lois Lane, the surprisingly competent Jimmy Olsen (who catches a baby AND tackles a mobster), General Lane, and of course, the brilliant Lex Luthor. I love Luthor’s well-reasoned argument for Superman as a threat. He IS an invasive species that threatens Earth’s biology. We know we can trust Superman because we see him helping out normal people, but man, you can see how it would make the fat cats nervous.

Morales’ art packs quite the punch too. Superman never stops moving, zipping and darting around the city, saving people and running from one disaster to another. Something was off with a few of the characters’ eyes looking a bit odd, but man, that’s a small price to pay for this level of detail. Shootouts, train derailments, and wrecking balls as a weapon. This comic delivers on the title.

Excellent