Amazing. Really. Just amazing.
The thing that impresses me the most about this issue is that Bendis really builds off the previous issues in a way that shows the care that he's put into crafting this narrative. When Jean discovered her telepathy in issue #2, I didn't really think all that much of it. OK, Bendis decided that he wanted Jean to have her telepathy earlier than she had it. Cool, whatever. It made sense within the story that the shock of coming to the future would've undone the mental blocks that Professor X had previously installed around her telepathy and it also made sense for the story since it would allow Jean to verify that Beast was telling them the truth. But, Bendis takes that ball and runs with it here. First, the use of her telepathy to create a virtual conference between present Beast and young Beast was brilliant, if not for the inventiveness, than for the snarkiness. But, perhaps even better, Bendis uses it to present Jean with a download of her own personal history, a revelation so disturbing that it prompts her to demand the the original X-Men stay in the present to right the wrongs that they have committed (and that have been committed against them). The believability of this series has always been attached to the reason why the original X-Men came to the future and the reason why they would stay in it. Bendis did a great job answering the first question in the first two issues and he does an equally good job of answering the second one here. No matter how fantastic it all sounds, I actually believe that the original X-Men have come to the future from the past and are here to stay. I really, really didn't expect for Bendis to be able to sell me on that as well as he has. I don't even mean that as a slight on Bendis; I have trouble believing that any author would've been able to sell me on it. But, here I am, totally buying it. Well effing done, BMB.
Moreover, Bendis is doing great stuff here with the characterizations, of the present and original X-Men alike. Finally, someone has Logan be an asshole again! Logan is an asshole. Logan is exactly the type of guy that would threaten to kill at teenage boy for the adult man that he will become. Given how neutered Logan has become, it was a real thrill to see a flash of his old self here.
Plus, I like this assertive Jean. Unlike a lot of female characters created in the '60s and '70s, Jean was never actually too much of a victim. After all, she accepted the Phoenix Force as a conscious decision to save the lives of her friends; it wasn't like Captain Marvel, where she essentially became a hero because of an accident that occurred with a man was defending her. But, that said, Jean was never really a leader either, like Storm or Rogue have been. Here, she clearly emerges as just that, the leader of the original X-Men. Her view of their future has erased any passivity that she may have had in her, inspiring her to do everything in her power to avoid the dark futures awaiting her and her friends. After all, it's the differences between the original X-Men and their present counterparts that are going to make this series interesting. Is something going to happen to Bobby to make him more serious? Is something going to happen to Scott to make him less serious? Are they going to wind up dating any of the other students? It would be pretty weird for present Bobby to be dating Kitty and original Bobby to be dating Idie. But, it's that weirdness and those differences that's going make this series interesting. It could definitely go the wrong way at some point, but, right now, Bendis' adroit handling of a changed Jean here certainly shows promise for the whole concept.
All in all, Bendis is five for five and I found myself, once again, anxiously awaiting the next issue.
Thursday, February 14, 2013
Wolverine and the X-Men #22 (HERE BE SPOILERS!)
La la la, Kiddie Hellfire Club, la la la, don't really care, la la la.
Scarlet Spider #12.1 (HERE BE SPOILERS!)
Since I've got a backlog of something like 48 comics, I'm going to have to forgo the longer style review that I usually do for "Amazing Spider-Man" and "Scarlet Spider," at least until I manage to get current.
I enjoyed this issue, though I think Yost has to start moving past the somewhat overwrought narration that we've been getting lately with Kaine. I don't mind the narration itself, since I think Yost has such a great sense of Kaine's voice. I just mean that he can't always be thinking about what a monster he used to be. I know that it's a Point One issue, so Yost is under the gun to use this issue to introduce Kaine to a wider audience. But, we just had a similar story last issue, where Kaine actually received some form of absolution for his brutal past from Donald. I'm not saying that Kaine should totally forget about it or that Donald suddenly wiped away all his guilt. But, I think that it's time for him to stop focusing on it as much, particularly since, as the Arranger said, he has enough on his plate right now.
Moving to the issue itself, though, I totally loved the story here. Kaine taking on human traffickers is right up the alley of this series, given its embrace of the darker corners of the superhero world. I loved the sudden shift at the end, with the Arranger killing the human trafficker and declaring that the Kingpin (and, thus, the Hand) would have a more active presence in Houston. Siqueira and Edwards do a great job showing Kaine battle the Hand here and I think that they're a good choice as a new ongoing adversary for Kaine. (Maybe Peter could teach him Spider-Fu!) Moreover, I'm excited that we seem to be getting somewhere next issue on the Aracely mystery.
All in all, I continue to love this title. It's just a reliable good read every month and, given the state of some other comics that I read, I can't really think of higher praise than that.
I enjoyed this issue, though I think Yost has to start moving past the somewhat overwrought narration that we've been getting lately with Kaine. I don't mind the narration itself, since I think Yost has such a great sense of Kaine's voice. I just mean that he can't always be thinking about what a monster he used to be. I know that it's a Point One issue, so Yost is under the gun to use this issue to introduce Kaine to a wider audience. But, we just had a similar story last issue, where Kaine actually received some form of absolution for his brutal past from Donald. I'm not saying that Kaine should totally forget about it or that Donald suddenly wiped away all his guilt. But, I think that it's time for him to stop focusing on it as much, particularly since, as the Arranger said, he has enough on his plate right now.
Moving to the issue itself, though, I totally loved the story here. Kaine taking on human traffickers is right up the alley of this series, given its embrace of the darker corners of the superhero world. I loved the sudden shift at the end, with the Arranger killing the human trafficker and declaring that the Kingpin (and, thus, the Hand) would have a more active presence in Houston. Siqueira and Edwards do a great job showing Kaine battle the Hand here and I think that they're a good choice as a new ongoing adversary for Kaine. (Maybe Peter could teach him Spider-Fu!) Moreover, I'm excited that we seem to be getting somewhere next issue on the Aracely mystery.
All in all, I continue to love this title. It's just a reliable good read every month and, given the state of some other comics that I read, I can't really think of higher praise than that.
Secret Avengers #35 (HERE BE SPOILERS!)
Honestly, this issue seems to prove the point that many of us have been making about "Death of the Family," that it would've somehow been more epic if it had been contained to "Batman." Remender is telling a story here that seems ready-made for some sort of huge summer cross-over event, particularly as it spreads to the larger Marvel Universe in this issue. I mean, Sleeper synthezoids transforming all humans into synthezoids? Talk about epic!
But, rather than have the story diluted by a never-ending series of poorly coordinated tie-in issues, Remender got to maintain tight control over this story, building it slowly but surely until it explodes in this issue. I liked the point that he makes here that the Descendants had been a Secret Avengers problem but it has now spilled into a "real" Avengers problem. It actually really underlines the importance of a team like the Secret Avengers, trying to eliminate threats before they get too huge. It's just that sometimes they fail!
I really didn't like the Descendants when they first appeared, because their origin and purpose was somewhat muddled back then. In fact, I feel like Remender may have originally been going somewhere else with them before he decided on this story. But, whatever the case may be, Remender has really sold this story to me over these last few issues. I'm continually surprised every issue, whether it's by Deathlok Jan turning Giant-Man into a fellow Deathlok or the Father declaring Bagalia as his own state, if only because he knew that the United Nations will refuse his request and justify his attack. Each surprise moves us to the next phase in an organic way; no plot point has feel extraneous or forced.
But, Remender doesn't just have mastery over the storytelling; he also has such a great ear for dialogue. I loved the banter between Captain Britain, Hank, and Hawkeye, but, even more, I loved the conversation between Natasha and Venom. Her mentoring clearly impacts Flash and I'm intrigued to see where Remender goes with him here. Moreover, it's nice to see Natasha portrayed as a real person and not just an emotionless super-spy, as she often is. Finally, Scalera is on fire in this issue. I loved that opening shot of the Human Torch rallying the troops, but the scenes of the Sentinel attack on Avengers Tower are even better. The Sentinel staring in the window at the Avengers? Amazing.
This issue has to be one of my favorites of the year, if only because it does the standard comic-book story to perfection.
But, rather than have the story diluted by a never-ending series of poorly coordinated tie-in issues, Remender got to maintain tight control over this story, building it slowly but surely until it explodes in this issue. I liked the point that he makes here that the Descendants had been a Secret Avengers problem but it has now spilled into a "real" Avengers problem. It actually really underlines the importance of a team like the Secret Avengers, trying to eliminate threats before they get too huge. It's just that sometimes they fail!
I really didn't like the Descendants when they first appeared, because their origin and purpose was somewhat muddled back then. In fact, I feel like Remender may have originally been going somewhere else with them before he decided on this story. But, whatever the case may be, Remender has really sold this story to me over these last few issues. I'm continually surprised every issue, whether it's by Deathlok Jan turning Giant-Man into a fellow Deathlok or the Father declaring Bagalia as his own state, if only because he knew that the United Nations will refuse his request and justify his attack. Each surprise moves us to the next phase in an organic way; no plot point has feel extraneous or forced.
But, Remender doesn't just have mastery over the storytelling; he also has such a great ear for dialogue. I loved the banter between Captain Britain, Hank, and Hawkeye, but, even more, I loved the conversation between Natasha and Venom. Her mentoring clearly impacts Flash and I'm intrigued to see where Remender goes with him here. Moreover, it's nice to see Natasha portrayed as a real person and not just an emotionless super-spy, as she often is. Finally, Scalera is on fire in this issue. I loved that opening shot of the Human Torch rallying the troops, but the scenes of the Sentinel attack on Avengers Tower are even better. The Sentinel staring in the window at the Avengers? Amazing.
This issue has to be one of my favorites of the year, if only because it does the standard comic-book story to perfection.
Wednesday, February 13, 2013
Batman #17 (HERE BE SPOILERS!)
All right, before I say anything else, I will say that this issue is beautifully crafted. Snyder's script is flawless. Joker sounds like Joker and Bruce sounds like Bruce. Moreover, his pacing is perfect. I was stunned by the reveal that the platters contained the faces of the Bat-family and I felt an overwhelming sense of panic over the next few panels, even as my mind knew realistically that I had also picked up an issue of "Batgirl" today with Barbara's face clearly in tact on the cover. But, when it was revealed to be, as Damian put it, a joke, this sense of logic didn't undermine the relief I felt, a relief that Bruce also clearly demonstrated when he hugged Damian. Moreover, I loved Snyder flipping the issue of identities at the end, revealing that Joker doesn't know who Batman is but Batman knows who he is. In the art department, Capullo is also firing on all cylinders here, whether it's tight reaction shots, like Bruce realizing that Alfred wasn't dead, or grand underground vistas, like where Joker and Batman have their climactic battle. It's all just beautifully, beautifully crafted.
But...
At the end of the day, I just have to call bullshit on Joker not knowing. I mean, Snyder does his best here. I thought the revelation that Bruce essentially told Joker his secret identity years earlier, after he found the card in the Batcave, was a brilliant effort to show just how intimate the relationship between the two of them is. It shows how unbalanced Joker makes Bruce, how he is willing to take risks when it came to Joker. I'm not entirely sure that I buy that Bruce would actually take that risk, but I get where Snyder was going with it. It shows that the issue of Bruce's identity and Joker's identity is less important than the roles that they play for one another. Moreover, this scene shows us why Bruce therefore was so convinced that Joker didn't know the Bat-family's identities, since he knew in that moment what many of us have long theorized, that Joker doesn't really care. It's why he left on everyone's masks when he "cut off" their faces. He's confirming that he really doesn't want to know, because it would undermine the fun. It would be like reading the last chapter of a book, but then trying to muster the energy to read it now that you knew how it ended. He's in it for the thrill, not the resolution.
However, Snyder and his fellow authors have told a story over this arc that makes it completely implausible to believe that Joker doesn't know. Joker just happened to kidnap Batgirl's mother? He just happened to destroy Haly's Circus? He just happened to know that Jason's father was a deadbeat dad? It's incredibly difficult to believe that. (I mean, it's just unbelievable to believe that he managed to do all those things in the time frame allotted, but I'm just going to concede that issue.) Moreover, even if you're willing to accept alternative possibilities to these attacks, like Barbara Gordon, Sr. being kidnapped because of her ex-husband and not her daughter, you have to consider everything that Lobdell gave us when it comes to Joker "creating" Jason. He couldn't not know. It would literally be impossible. You can't have an alternate explanation for that.
But, perhaps even worse than not buying that Joker doesn't know their identities, I also don't buy that Joker successfully destroyed the bonds that the Bat-family has to Bruce. This criticism is particularly damning, since it's the whole damn point of this arc. Going beyond just "revealing" that he had been in the Batcave, we're supposed to believe that Joker undermines this trust by apparently telling the Bat-family what Bruce "really thinks" of them. Snyder leaves it a mystery what Joker told them but, honestly, I don't find it all that interesting of a mystery. Joker didn't get into the cave and his book was empty; anything he would've told them would be a mere fabrication. He's not reading some sort of mystery file that Bruce prepared marked, "Deepest, Darkest Thoughts: Bruce's Eyes Only!" Moreover, Bruce was right that Joker didn't know their identities. Sure, he should have told them about the Batcave incident, but, at the end of the day, it's really Bruce's only transgression. Snyder, though, seems to want us to believe that Joker said things to the Bat-family that forever changed their opinion of Bruce, building on their anger that he hadn't told them that Joker might know their identities. Truthfully, I just don't see that happening. They know that it's Joker. I mean, sure, maybe they're shaken, but, as X predicted, it's hard to argue that we're going to see the ramifications of this event past next issue. Someone at some point will tell Bruce what Joker said, he'll deny it, it'll be awkward for a while, and then they'll return to where they were. After all, they're all estranged anyway in the DCnU. How much worse could it get?
In the end, despite how brilliantly crafted this issue was, I just feel like this story was a disappointment. Snyder makes it difficult to believe that Joker doesn't know their identities and that the Bat-family would abandon Bruce, even though we're supposed to draw exactly those conclusions. To be honest, after the Court of Owls and "Death of the Family," I'm really excited to get a few stand-alone issues on this title for the first time since it launched. I need to be reminded of why I collect this title, since this arc made me continue to wonder.
But...
At the end of the day, I just have to call bullshit on Joker not knowing. I mean, Snyder does his best here. I thought the revelation that Bruce essentially told Joker his secret identity years earlier, after he found the card in the Batcave, was a brilliant effort to show just how intimate the relationship between the two of them is. It shows how unbalanced Joker makes Bruce, how he is willing to take risks when it came to Joker. I'm not entirely sure that I buy that Bruce would actually take that risk, but I get where Snyder was going with it. It shows that the issue of Bruce's identity and Joker's identity is less important than the roles that they play for one another. Moreover, this scene shows us why Bruce therefore was so convinced that Joker didn't know the Bat-family's identities, since he knew in that moment what many of us have long theorized, that Joker doesn't really care. It's why he left on everyone's masks when he "cut off" their faces. He's confirming that he really doesn't want to know, because it would undermine the fun. It would be like reading the last chapter of a book, but then trying to muster the energy to read it now that you knew how it ended. He's in it for the thrill, not the resolution.
However, Snyder and his fellow authors have told a story over this arc that makes it completely implausible to believe that Joker doesn't know. Joker just happened to kidnap Batgirl's mother? He just happened to destroy Haly's Circus? He just happened to know that Jason's father was a deadbeat dad? It's incredibly difficult to believe that. (I mean, it's just unbelievable to believe that he managed to do all those things in the time frame allotted, but I'm just going to concede that issue.) Moreover, even if you're willing to accept alternative possibilities to these attacks, like Barbara Gordon, Sr. being kidnapped because of her ex-husband and not her daughter, you have to consider everything that Lobdell gave us when it comes to Joker "creating" Jason. He couldn't not know. It would literally be impossible. You can't have an alternate explanation for that.
But, perhaps even worse than not buying that Joker doesn't know their identities, I also don't buy that Joker successfully destroyed the bonds that the Bat-family has to Bruce. This criticism is particularly damning, since it's the whole damn point of this arc. Going beyond just "revealing" that he had been in the Batcave, we're supposed to believe that Joker undermines this trust by apparently telling the Bat-family what Bruce "really thinks" of them. Snyder leaves it a mystery what Joker told them but, honestly, I don't find it all that interesting of a mystery. Joker didn't get into the cave and his book was empty; anything he would've told them would be a mere fabrication. He's not reading some sort of mystery file that Bruce prepared marked, "Deepest, Darkest Thoughts: Bruce's Eyes Only!" Moreover, Bruce was right that Joker didn't know their identities. Sure, he should have told them about the Batcave incident, but, at the end of the day, it's really Bruce's only transgression. Snyder, though, seems to want us to believe that Joker said things to the Bat-family that forever changed their opinion of Bruce, building on their anger that he hadn't told them that Joker might know their identities. Truthfully, I just don't see that happening. They know that it's Joker. I mean, sure, maybe they're shaken, but, as X predicted, it's hard to argue that we're going to see the ramifications of this event past next issue. Someone at some point will tell Bruce what Joker said, he'll deny it, it'll be awkward for a while, and then they'll return to where they were. After all, they're all estranged anyway in the DCnU. How much worse could it get?
In the end, despite how brilliantly crafted this issue was, I just feel like this story was a disappointment. Snyder makes it difficult to believe that Joker doesn't know their identities and that the Bat-family would abandon Bruce, even though we're supposed to draw exactly those conclusions. To be honest, after the Court of Owls and "Death of the Family," I'm really excited to get a few stand-alone issues on this title for the first time since it launched. I need to be reminded of why I collect this title, since this arc made me continue to wonder.
Teen Titans #16 (HERE BE SPOILERS!)
Lobdell tries to do some interesting stuff here, but it just winds up being a mess. I mean, sure, for a moment, I thought that we had confirmation that Joker knew the guys' identities, since he claimed to have their fathers captive. But, I didn't believe that Jason would try to kill Tim for the sake of saving his allegedly alive dead-beat father. But, if you don't believe that, you really don't believe everything that follows. Moreover, I really don't believe that Tim, for how smart he allegedly is, would believe that Jason had killed Joker without verifying it. I mean, how many times has Joker evaded death? Jason shoots him full of holes and they just sit there and shoot the shit? "Hey, man, that Starfire girl is h-o-t. Well done!" "Thanks. It's been a crazy...holy crap, Joker is alive!" Really? Seriously, it's just time for this whole event to end. When it does, I need to make some decisions about whether DC is getting as much money as I've been giving it.
Red Hood and the Outlaws #16 (HERE BE SPOILERS!)
This issue is a hot mess. No, really. I'm actually OK, in theory, with it not being about Jason and showing us the Outlaws and the Titans addressing a secondary problem related to Joker; "Detective Comics" #16 did essentially the same thing to great effect. I also don't mind Lobdell using it as a way to get Arsenal to realize that he has something to offer beyond just his bow. In fact, Lobdell almost seems to be setting up Arsenal and Starfire absconding to the Titans, a move that would make sense given their histories and really free up this series to focus on Jason, who's always been the main event. But, he handles the characters here so inartfully that it's hard to believe he writes both series. Arsenal's soliloquies about science make him sound more like Batman and his narration is almost devoid of personality, written solely to move us through recollections and bridge action sequences. Moreover, Wonder Girl is almost unrecognizable and Bunker is portrayed as much more full of doubt than he usually is. I could continue, but, seriously, you just need to know that it was a hot mess and be thankful if you skipped it.
Tuesday, February 12, 2013
Nightwing #16 (HERE BE SPOILERS!)
I have to say, I'm pretty damn surprised that Higgins has Joker destroy Haly's Circus here. Plus, when I say destroy, I mean, destroy. From the bodies of deceased members to the lives of current members to the structure of the circus, Joker destroys all of it. Has Higgins been planning on that? Have the last 16 issues of "Nightwing" been setting up this moment, giving Dick a raison d'être in his personal life only to have it ripped from him by Joker? Even for Joker, it's a pretty brutal attack; after all, it stands to reason that Dick's parents' bodies were in there somewhere when Joker brought down the circus.
But, it makes me wonder if Joker has been misrepresenting himself, or, at least, if we've been misinterpreting him. Maybe he doesn't really want to "murder" the Bat-family. It'd be too easy. Maybe the "death" in "Death of the Family" is a metaphorical one. When the dust settles and Barbara contemplates the fact that she was almost driven to murder Joker and Dick realizes that everything that he ever had has been stripped from him (plus whatever Jason and Tim experience at Joker's hands), it stands to reason that they're going to blame Bruce. He knew that Joker knew their identities and he didn't tell them. Sure, Bruce can pretend that he didn't think that Joker really knew. But, he was pretty clearly wrong. So, by not allowing the Bat-family to draw its own conclusions from the evidence, Bruce has made himself solely responsible for this mess. He's the reason that Barbara's mother lost a finger, why Dick lost Haly's Circus totally and completely, and whatever happened to Alfred happened. It's all on him. When they all leave him, furious at him for failing them so greatly, it stands to reason that he'll focus his anger fully on Joker...giving him exactly what he wants.
If Snyder plays it this way, then I buy it. I totally buy it. I buy the estrangement that we're probably going to see in the next few months of Bat-books and the anger that Bruce will likely feel. At this stage, it's the only conclusion that I could see coming from this event that would make me buy it and, increasingly, I think that it's where Snyder et al. are going. Fingers crossed.
But, it makes me wonder if Joker has been misrepresenting himself, or, at least, if we've been misinterpreting him. Maybe he doesn't really want to "murder" the Bat-family. It'd be too easy. Maybe the "death" in "Death of the Family" is a metaphorical one. When the dust settles and Barbara contemplates the fact that she was almost driven to murder Joker and Dick realizes that everything that he ever had has been stripped from him (plus whatever Jason and Tim experience at Joker's hands), it stands to reason that they're going to blame Bruce. He knew that Joker knew their identities and he didn't tell them. Sure, Bruce can pretend that he didn't think that Joker really knew. But, he was pretty clearly wrong. So, by not allowing the Bat-family to draw its own conclusions from the evidence, Bruce has made himself solely responsible for this mess. He's the reason that Barbara's mother lost a finger, why Dick lost Haly's Circus totally and completely, and whatever happened to Alfred happened. It's all on him. When they all leave him, furious at him for failing them so greatly, it stands to reason that he'll focus his anger fully on Joker...giving him exactly what he wants.
If Snyder plays it this way, then I buy it. I totally buy it. I buy the estrangement that we're probably going to see in the next few months of Bat-books and the anger that Bruce will likely feel. At this stage, it's the only conclusion that I could see coming from this event that would make me buy it and, increasingly, I think that it's where Snyder et al. are going. Fingers crossed.
Batgirl #16 (HERE BE SPOILERS!)
This issue is odd, mainly because I'm not really sure where we end it.
This issue begins more or less how'd you expect it, with Barbara struggling to keep herself from killing Joker since he has her mother hostage. But, then, James appears and a few things happen that bring us in a different direction than we seemed to have been going. First, James tells Barbara that their mother is safe, which allows her to go wild on Joker. Interestingly, Simone doesn't let us learn if Barbara would've killed Joker, since James chloroforms her before she can do so. We then learn that James made a deal with Joker to give her to Joker in exchange for his mother. I'm all good until this point. In fact, I thought James was a great addition to this issue, really ramping up the tension (as he's wont to do). I particularly loved the part where James impresses Joker. Snyder made it very clear that his James was the once and future Joker in his DCU "Detective Comics" run and Joker himself seems to realize that in this moment. I loved that.
But, I don't get where we are at the end. Joker was going to cut off Batgirl's arms and legs as a "wedding present," so it's possible that it's her limbs under the domed plate. It's possible, but, unlikely. Since Penguin and Two-Face recognized whatever is under the dome in "Batman" #16, it seems pretty obvious that it's a head of someone familiar. Maybe it's Barbara's face, but I sort of doubt that they'd recognize that. So, if Joker didn't do anything to Barbara, it raises the question why he didn't. James clearly interrupted whatever Joker was planning for Barbara and maybe Joker was just bluffing about cutting off her arms and legs; if you're working under the theory that he knows that she's Barbara Gordon, then it makes sense, in a Joker way, to threaten to do to her something that she couldn't undo, like she "undid" her paralysis. But, he's been talking about the "role" that she has to play in his final fight with Batman. Why would James' interruption change his plans for Barbara? I guess we still have time for Snyder to reveal that plan, but I felt like this issue, and Barbara's own arc with Joker, ended fairly abruptly, jettisoning a lot of the story that we've seen to this point in the rush to set up "Batman" #17.
This issue begins more or less how'd you expect it, with Barbara struggling to keep herself from killing Joker since he has her mother hostage. But, then, James appears and a few things happen that bring us in a different direction than we seemed to have been going. First, James tells Barbara that their mother is safe, which allows her to go wild on Joker. Interestingly, Simone doesn't let us learn if Barbara would've killed Joker, since James chloroforms her before she can do so. We then learn that James made a deal with Joker to give her to Joker in exchange for his mother. I'm all good until this point. In fact, I thought James was a great addition to this issue, really ramping up the tension (as he's wont to do). I particularly loved the part where James impresses Joker. Snyder made it very clear that his James was the once and future Joker in his DCU "Detective Comics" run and Joker himself seems to realize that in this moment. I loved that.
But, I don't get where we are at the end. Joker was going to cut off Batgirl's arms and legs as a "wedding present," so it's possible that it's her limbs under the domed plate. It's possible, but, unlikely. Since Penguin and Two-Face recognized whatever is under the dome in "Batman" #16, it seems pretty obvious that it's a head of someone familiar. Maybe it's Barbara's face, but I sort of doubt that they'd recognize that. So, if Joker didn't do anything to Barbara, it raises the question why he didn't. James clearly interrupted whatever Joker was planning for Barbara and maybe Joker was just bluffing about cutting off her arms and legs; if you're working under the theory that he knows that she's Barbara Gordon, then it makes sense, in a Joker way, to threaten to do to her something that she couldn't undo, like she "undid" her paralysis. But, he's been talking about the "role" that she has to play in his final fight with Batman. Why would James' interruption change his plans for Barbara? I guess we still have time for Snyder to reveal that plan, but I felt like this issue, and Barbara's own arc with Joker, ended fairly abruptly, jettisoning a lot of the story that we've seen to this point in the rush to set up "Batman" #17.
Detective Comics #16 (HERE BE SPOILERS!)
This issue has almost nothing to do with "Death of the Family." In fact, if I had to place it in continuity, I'd have to put it somewhere before issue #14, before Bruce actually confronts Joker. But, it is, nonetheless, a Joker story, with Layman showing us the effect that Joker has on Gotham. It's often been said that Batman actually causes Gotham's problems with crime because he inspires a certain level of craziness in the super-villains that he winds up having to confront. Here, Layman posits that the super-villains themselves serve as a multiplying force for that effect, inspiring their own legion of villains and copy-cats. My favorite Batman stories are the ones where we get to interact with Gotham in a way that shows how people live day-to-day, answering the age-old question, "Why do people still live there?" It's why I liked the early few issues of "Batwoman," which did a great job showing Kate Kane living her life in Gotham. Here, Layman gives us exactly this sort of story, showing us the effect that Joker is having on regular people. It's not a necessary read, but it definitely tells a story that I think is worth considering.
Batman and Robin #16 (HERE BE SPOILERS!)
I wound up enjoying this issue more than I did last issue, if only because Tomasi gave us a pretty tightly scripted battle between Damian and "Batman" and avoided some of the "Death of the Family" baggage in the process. I actually thought that it was Batman for most of this issue, given that it made sense that Joker could've injected him with a Joker serum after the events of "Batman" #16. The revelation that it wasn't him didn't do anything to diminish the story, though, since the whole point was to show a devastated and weakened Damian played right to where Joker wanted him. Snyder et al. are certainly playing up this mysterious platter, though this issue doesn't really give us any hints whose head might be in it. Joker does mention the family skeletons being removed from the closet and uses a quote that sounds suspiciously similar to Jack Napier's, "Ever dance with the Devil in the pale moonlight?" quote from the original Batman movie. But, unless it's Jack Nicholson's head, I'm not sure what the connection will be. I guess we'll see.
Batman #16 (HERE BE SPOILERS!)
When I saw that CNN was running a story on "Batman" #17, I managed not to read it. But, given that temptation is strong, I realized that I need to prioritize reading "Death of the Family" as I make my way through my back issues so that I don't wind up caving and getting the answer spoiled.
I will say that everything seems to be happening pretty fast. Compared to the year-long Court of Owls story, this story has unfolded quickly. Joker had a few opening moves: kidnapping Alfred, killing the cops at GCPD, and poisoning Commissioner Gordon, not to mention everything he's been doing in the other titles. But, the conflict with Batman has been pretty quick. He tricked him into going to Ace Chemicals, where Harley attacked him, confronted him at the reservoir, where he "revealed" that he knew his identity, and then lured him into Arkham Asylum. Maybe it's just because the beginning of the Court of Owls story was so brilliantly paced, but I do feel like Snyder is moving us through this arc a little too briskly. He seems to be relying on the tie-in issues to show the breadth of Joker's plans, leaving the story in "Batman" as a more frontal assault. It feels a little more Hush-y than it does Joker-y.
At any rate, Snyder builds the tension well here, but, essentially, nothing really happens. Batman makes his way through Arkham as Joker taunts him, eventually finding Joker in Jeremiah Arkham's private chambers, where he's assembled the "Batking's" court. The Penguin, Ridder, and Two-Face angle is funny, but I'm not entirely sure if we're supposed to recognize the four people that he has playing Aquaman, Green Lantern, Superman, and Wonder Woman. Even if we are, though, we're not given all that much time to recognize them, since this scene is really a feint, building up Bruce's confidence that he's managed to capture Joker only to reveal that Joker is holding (or has killed) the Bat-family.
It's here where Snyder takes an odd turn, having Bruce willingly sit on an electrical chair. I'm assuming that Bruce didn't think that he was going to kill himself, but Snyder doesn't make that entirely clear. Moreover, the secret identity issue rears its ugly head here again. For all the hand-wringing over whether Joker knows Batman's identity or not, Snyder makes it completely irrelevant with this scene (but not in a good way). If Joker really wanted to know, he very easily could, pulling off the unconscious Batman's mask. But, he doesn't. So, again, it either means that he knows or he doesn't care, once again showing how ridiculous it is for Snyder to put this question at the center of the story.
The real question at this point is pretty clearly whether Alfred's head is on the platter that Joker shows Penguin and Two-Face. Now, even if it is, it's pretty easy to dismiss that "revelation" as shock value. After all, the Dollmaker made Joker a living tapestry, so it seems plausible that he could gin up a reasonable facsimile of Alfred's head. The other question is how Joker defeated the various Bat-family members, a question that I assume that I'm going to get answered in the various tie-in issues that I'm going to read next.
But, I have to wonder if I care about the answer to either question. I mean, even if Joker did cut off Alfred's head, do I really think that he's going to stay dead? I mean, as we've already established, Alfred, Bruce, and Jason have all died and returned; Barbara and Bruce were both paralyzed and can walk again. At this stage, only Dick and Tim haven't gone through some sort of miraculous resurrection/healing (though, honestly, they may have and I just forgot about it). Moreover, any assurances after the fact that "Alfred is really dead" from DC would be met with as much belief as the "Peter Parker is really dead" assurances from Marvel.
Maybe at the end of the day, my problem with this arc is exactly that. It plays on two of the oldest tropes -- secret identities and dramatic deaths -- in comics that have lost their punch over the years. The Court of Owls arc, in the beginning, was interesting because it spoke to whether Bruce understood the city as well as he thought he did. This arc just brings us stuff -- including a title -- that we've seen time and time again.
I will say that everything seems to be happening pretty fast. Compared to the year-long Court of Owls story, this story has unfolded quickly. Joker had a few opening moves: kidnapping Alfred, killing the cops at GCPD, and poisoning Commissioner Gordon, not to mention everything he's been doing in the other titles. But, the conflict with Batman has been pretty quick. He tricked him into going to Ace Chemicals, where Harley attacked him, confronted him at the reservoir, where he "revealed" that he knew his identity, and then lured him into Arkham Asylum. Maybe it's just because the beginning of the Court of Owls story was so brilliantly paced, but I do feel like Snyder is moving us through this arc a little too briskly. He seems to be relying on the tie-in issues to show the breadth of Joker's plans, leaving the story in "Batman" as a more frontal assault. It feels a little more Hush-y than it does Joker-y.
At any rate, Snyder builds the tension well here, but, essentially, nothing really happens. Batman makes his way through Arkham as Joker taunts him, eventually finding Joker in Jeremiah Arkham's private chambers, where he's assembled the "Batking's" court. The Penguin, Ridder, and Two-Face angle is funny, but I'm not entirely sure if we're supposed to recognize the four people that he has playing Aquaman, Green Lantern, Superman, and Wonder Woman. Even if we are, though, we're not given all that much time to recognize them, since this scene is really a feint, building up Bruce's confidence that he's managed to capture Joker only to reveal that Joker is holding (or has killed) the Bat-family.
It's here where Snyder takes an odd turn, having Bruce willingly sit on an electrical chair. I'm assuming that Bruce didn't think that he was going to kill himself, but Snyder doesn't make that entirely clear. Moreover, the secret identity issue rears its ugly head here again. For all the hand-wringing over whether Joker knows Batman's identity or not, Snyder makes it completely irrelevant with this scene (but not in a good way). If Joker really wanted to know, he very easily could, pulling off the unconscious Batman's mask. But, he doesn't. So, again, it either means that he knows or he doesn't care, once again showing how ridiculous it is for Snyder to put this question at the center of the story.
The real question at this point is pretty clearly whether Alfred's head is on the platter that Joker shows Penguin and Two-Face. Now, even if it is, it's pretty easy to dismiss that "revelation" as shock value. After all, the Dollmaker made Joker a living tapestry, so it seems plausible that he could gin up a reasonable facsimile of Alfred's head. The other question is how Joker defeated the various Bat-family members, a question that I assume that I'm going to get answered in the various tie-in issues that I'm going to read next.
But, I have to wonder if I care about the answer to either question. I mean, even if Joker did cut off Alfred's head, do I really think that he's going to stay dead? I mean, as we've already established, Alfred, Bruce, and Jason have all died and returned; Barbara and Bruce were both paralyzed and can walk again. At this stage, only Dick and Tim haven't gone through some sort of miraculous resurrection/healing (though, honestly, they may have and I just forgot about it). Moreover, any assurances after the fact that "Alfred is really dead" from DC would be met with as much belief as the "Peter Parker is really dead" assurances from Marvel.
Maybe at the end of the day, my problem with this arc is exactly that. It plays on two of the oldest tropes -- secret identities and dramatic deaths -- in comics that have lost their punch over the years. The Court of Owls arc, in the beginning, was interesting because it spoke to whether Bruce understood the city as well as he thought he did. This arc just brings us stuff -- including a title -- that we've seen time and time again.
Captain Marvel #8 (HERE BE SPOILERS!)
DeConnick manages to wrap up this story in a way that somehow combines the weakened levees, the missing boats, and the Captain Marvels. I'll admit that it felt a little forced, but the explanation that robots formerly belonging to Hogarth Hamontree were slowly recharging and rebuilding themselves with materials available to them while they lay dormant in the Gulf of Mexico is a more sensible explanation than I figured that we'd get, given how these stories often go. DeConnick doesn't make it feel like a MacGuffin, a nonsensical plot point used merely to set up the conflict. It felt like something that could happen, even if it seems pretty unlikely.
But, the main draw is her interactions with Monica, who I hope we see again soon. The action is fast paced, with Carol and Monica's powers complementing one another nicely to create some great sequences. I enjoyed their good-natured teasing and I could see it getting all the better if Monica really has seen inside Carol's brain (or, even, if she just pretends to have seen inside it). Moreover, Frank seems like a nicely evolved straight guy, so I'd be happy to see him hang around a little longer. All in all, this series continues to move along swimmingly.
But, the main draw is her interactions with Monica, who I hope we see again soon. The action is fast paced, with Carol and Monica's powers complementing one another nicely to create some great sequences. I enjoyed their good-natured teasing and I could see it getting all the better if Monica really has seen inside Carol's brain (or, even, if she just pretends to have seen inside it). Moreover, Frank seems like a nicely evolved straight guy, so I'd be happy to see him hang around a little longer. All in all, this series continues to move along swimmingly.
Monday, February 11, 2013
Captain America #2 (HERE BE SPOILERS!)
When I turned to the first page, with its "One Year Later" dramatically printed on black, I admit that I gasped. I wasn't expecting it and I instantly found myself pulled into the story that Remender planned on telling. But, almost as quickly, I found myself worrying about continuity, wondering how Remender was going to get me to believe that the Captain America that I just saw in "Avengers" #2 had somehow been gone a year. After reading comics for 30 years, I immediately figured that Remender would have to go "Adventures of Cyclops and Phoenix" in the end: Steve would raise a child, but he would leave him to his world and return to his own world mere moments after he left.
But, soon, Remender made me care less about the logistics. Instead, he had me immersed in the story that he was actually telling, the story of a man protecting his son. It was a poignant moment, to say the least. After reading about Captain America for a long time, it's always been pretty clear that he never really saw himself as a father. In fact, in the first issue of this series, he wonders if he can even be a husband. Brubaker never really addressed the issue of the baby that Steve and Sharon lost as a result of the Red Skull. I'm not even sure if Steve knows that Sharon was pregnant. But, here, Steve is a father, falling into a role similar to the father in Cormac McCarthy's "The Road," guiding his charge through an inhospitable landscape, unable to surrender in the face of adversity because of the overwhelming responsibility that he has to that child. It makes the end all the more profound. Is Remender going to kill Ian? Remender seems to have put everything on the table here and I'm scared for Ian. Moreover, is Steve's parenting of Ian going to push Steve closer to Sharon or further from her when he returns? Remender is clearly building to that moment, given that he had Sharon propose in the first issue. The fact that I don't know what the answer is going to be shows just how magic what Remender is doing here.
I haven't been all that impressed with a lot of the comics that I've been reading over the last few weeks. Between Doctor Octopus becoming Spider-Man or the Joker suddenly making us all feel like idiots for ever believing that he hasn't known the identities of the Bat-family, it's all just felt...silly. It's all been recycled plots without a lot of actual heart. I'm not sure what Snyder wants me to be feeling when I read "Death of the Family," but I'm definitely not feeling it, whatever it is. I was seriously contemplating just ditching a whole lot of titles, feeling the same sort of resignation that I felt right before I quit comics the last time. But, not to overdo it, this issue actually reminded me why I like comics. I can read a story about a guy stuck in another dimension, defending a child genetically manufactured from his own DNA from alien monsters, and be moved by the humanity that the hero shows. Remender makes us care about the two people on the page here and the relationship that they have with one another and, at the end of the day, it's that dynamic that makes us all read comics. It's not really seeing if we can figure out Joker's next steps or how Spidey is going to escape this particular trap. I mean, it's part of the fun, but, if you miss that core reality -- that we're here for the relationships -- everything else feels hollow. So, thanks, Rick Remender, for remembering that.
But, soon, Remender made me care less about the logistics. Instead, he had me immersed in the story that he was actually telling, the story of a man protecting his son. It was a poignant moment, to say the least. After reading about Captain America for a long time, it's always been pretty clear that he never really saw himself as a father. In fact, in the first issue of this series, he wonders if he can even be a husband. Brubaker never really addressed the issue of the baby that Steve and Sharon lost as a result of the Red Skull. I'm not even sure if Steve knows that Sharon was pregnant. But, here, Steve is a father, falling into a role similar to the father in Cormac McCarthy's "The Road," guiding his charge through an inhospitable landscape, unable to surrender in the face of adversity because of the overwhelming responsibility that he has to that child. It makes the end all the more profound. Is Remender going to kill Ian? Remender seems to have put everything on the table here and I'm scared for Ian. Moreover, is Steve's parenting of Ian going to push Steve closer to Sharon or further from her when he returns? Remender is clearly building to that moment, given that he had Sharon propose in the first issue. The fact that I don't know what the answer is going to be shows just how magic what Remender is doing here.
I haven't been all that impressed with a lot of the comics that I've been reading over the last few weeks. Between Doctor Octopus becoming Spider-Man or the Joker suddenly making us all feel like idiots for ever believing that he hasn't known the identities of the Bat-family, it's all just felt...silly. It's all been recycled plots without a lot of actual heart. I'm not sure what Snyder wants me to be feeling when I read "Death of the Family," but I'm definitely not feeling it, whatever it is. I was seriously contemplating just ditching a whole lot of titles, feeling the same sort of resignation that I felt right before I quit comics the last time. But, not to overdo it, this issue actually reminded me why I like comics. I can read a story about a guy stuck in another dimension, defending a child genetically manufactured from his own DNA from alien monsters, and be moved by the humanity that the hero shows. Remender makes us care about the two people on the page here and the relationship that they have with one another and, at the end of the day, it's that dynamic that makes us all read comics. It's not really seeing if we can figure out Joker's next steps or how Spidey is going to escape this particular trap. I mean, it's part of the fun, but, if you miss that core reality -- that we're here for the relationships -- everything else feels hollow. So, thanks, Rick Remender, for remembering that.
Cable and X-Force #2 (HERE BE SPOILERS!)
Of all the new Marvel NOW! titles that I put on my pull list, I probably felt the least enthused about "Cable and X-Force." I really just sort got it to get it, using Marvel NOW! the way that Marvel wants me to use it, as an excuse to try out new series. Whereas that approach failed when it came to "Iron Man," I'm happy to say that I'm a pretty happy camper with this series. Hopeless is telling a familiar Cable story, but one with an interesting twist and a supporting cast that I find just as (if not more) intriguing.
First, Hopeless is doing a great job of framing the mystery at the core of these first few issues in a way that I don't find annoying. We get confirmation here that X-Force did seemingly kill a bunch of people, something that causes Colossus great consternation in this issue. But, Cable seems to believe that it was for a reason, one probably related to this apocalyptic future that he's trying to prevent. Given that the members of X-Force seem as unclear on Cable's goals as we are, Hopeless is setting up Cable as a sort of messianic leader, asking his subordinates to trust him as he tries to avoid as-yet-unnamed looming disaster. The "messianic" aspect is all the more profound given that Cable is apparently dying, as discovered by Dr. Nemesis in this issue.
But, part of the reason that I like this series is that it's not just Cable's show. This issue revolves mostly around Domino and Hope, who continue to display if not a mother/daughter relationship exactly but a reasonable approximation of it. Domino establishes herself pretty firmly here as the grounding force on the team, the only one not pushed by arrogance, insanity, intensity, or rage. Somewhat conversely, we get our first real glimpse of a post-Phoenix Colossus, who's dealing with similar emotional and physical scars as the other former possessors of the Phoenix Force (or, at least, Emma and Scott).
I'm definitely intrigued by where Hopeless is going, not only with Cable, but with the rest of the cast. Given how meh I've been feeling about comics this month, I have to thank him for giving me an unexpected bright spot!
First, Hopeless is doing a great job of framing the mystery at the core of these first few issues in a way that I don't find annoying. We get confirmation here that X-Force did seemingly kill a bunch of people, something that causes Colossus great consternation in this issue. But, Cable seems to believe that it was for a reason, one probably related to this apocalyptic future that he's trying to prevent. Given that the members of X-Force seem as unclear on Cable's goals as we are, Hopeless is setting up Cable as a sort of messianic leader, asking his subordinates to trust him as he tries to avoid as-yet-unnamed looming disaster. The "messianic" aspect is all the more profound given that Cable is apparently dying, as discovered by Dr. Nemesis in this issue.
But, part of the reason that I like this series is that it's not just Cable's show. This issue revolves mostly around Domino and Hope, who continue to display if not a mother/daughter relationship exactly but a reasonable approximation of it. Domino establishes herself pretty firmly here as the grounding force on the team, the only one not pushed by arrogance, insanity, intensity, or rage. Somewhat conversely, we get our first real glimpse of a post-Phoenix Colossus, who's dealing with similar emotional and physical scars as the other former possessors of the Phoenix Force (or, at least, Emma and Scott).
I'm definitely intrigued by where Hopeless is going, not only with Cable, but with the rest of the cast. Given how meh I've been feeling about comics this month, I have to thank him for giving me an unexpected bright spot!
Avengers #2 (HERE BE SPOILERS!)
I...don't really know where to begin.
First, I'll say that I'm willing to give Hickman time. I'll also say that he writes a lot more natural dialogue than Bendis did; the characters sound like they should sound, to my ears. But, this series so far is missing, I don't know, heart. In fact, it's like the opposite of Bendis. Bendis had heart; it's just that his stories made no sense and his characters were interchangeable. Hickman's story so far doesn't make sense either, but his characters are well defined. But, I don't really feel like the world is on the line. Maybe it's because Ex Nihlo might as well be called MacGuffin: he doesn't feel like some newly discovered Thanos, like we're clearly supposed to believe him to be. He feels like he is, a threat created solely to explain how this new team of Avengers assembled. Moreover, even though the characters are better defined than they were under Bendis, they still feel a little color-by-numbers. Cap and Tony tease each other over their differences, Jessica acts sexy, Carol acts assertive, the new kids marvel at membership in the club: we don't really get the new and refreshing take on the Avengers that we were promised.
We'll see where we go. Again, it's early days and, you know, it's not like the Red Skull took over Captain America's body or anything. I'm willing to give this one a few issues to find its groove. But I'm guessing that it's not going to happen during this first arc.
First, I'll say that I'm willing to give Hickman time. I'll also say that he writes a lot more natural dialogue than Bendis did; the characters sound like they should sound, to my ears. But, this series so far is missing, I don't know, heart. In fact, it's like the opposite of Bendis. Bendis had heart; it's just that his stories made no sense and his characters were interchangeable. Hickman's story so far doesn't make sense either, but his characters are well defined. But, I don't really feel like the world is on the line. Maybe it's because Ex Nihlo might as well be called MacGuffin: he doesn't feel like some newly discovered Thanos, like we're clearly supposed to believe him to be. He feels like he is, a threat created solely to explain how this new team of Avengers assembled. Moreover, even though the characters are better defined than they were under Bendis, they still feel a little color-by-numbers. Cap and Tony tease each other over their differences, Jessica acts sexy, Carol acts assertive, the new kids marvel at membership in the club: we don't really get the new and refreshing take on the Avengers that we were promised.
We'll see where we go. Again, it's early days and, you know, it's not like the Red Skull took over Captain America's body or anything. I'm willing to give this one a few issues to find its groove. But I'm guessing that it's not going to happen during this first arc.
All-New X-Men #4 (HERE BE SPOILERS!)
Holy effing crap, you guys, every issue I read almost kills me, because it's so tense that I forget to breathe.
Bendis does a spectacular job delivering the scene that essentially sets up this entire series, of present Scott meeting past Scott. Bendis manages to approach this meeting on two levels. First, he actually reminds us why Hank thought Scott needed this moment in the first place. From referring to mutantkind as "my mutant people" to intimating that he has more right to be mad at Emma than she does at him, Scott is the same self-delusional prick that he's been over the last few months. On the various Avengers books, Bendis generally had a character act the way that he needed them to act to further a plot, even if it conflicted with his or her established persona Here, Bendis is actually doing a great job of staying on target when it comes to Scott's characterization. As we also saw in "AVX: Consequences," Scott hasn't learned any lessons from "Avengers vs. X-Men," seeing the whole battle as an unfortunate series of events caused by people not listening to him. By giving us a tour of how self-centered Scott's thoughts are upon seeing the original X-Men, Bendis reminds us why Hank felt that he needed to do something drastic to shake present Scott from his insanity.
Second, however, Bendis cleverly makes it clear that Hank may have actually succeeded in shaking up Scott. At some point, Scott stops trying to determine which villain is tricking him and realizes that it is really the original X-Men standing in front of him, a realization made all the more poignant by the fact that it includes past Jean. I thought Bendis made a wise decision in having the spark of conflict between Cyclops and the original X-Men actually come from Jean, who strikes at Scott as a result of not being able to screen out his thoughts, including his murder of Professor X and his love for her. I was wondering what the catalyst would be and this one makes sense, particularly as the other X-Men leap to her defense when she's accidentally hit by present Scott after his visor comes loose. Magneto wisely extricates them from the situation and everyone returns to their corners.
I also thought Bendis also did a great job with Magneto here. Magneto relates the story to Emma and his fury at the idea that someone pulled the original X-Men from the time stream is palpable. It's not too much of a stretch to realize that Magneto is also seeing himself through their eyes, contemplating the unapologetic mutant terrorist that he used to be. Even if he's thrown in his lot with Scott right now, Magneto hasn't really seen himself as brutal as he was in years, so it's probably got to be a shock to be treated as the person that he used to be, but hasn't been in a long time.
Clearly, though, the Brotherhood aren't the only ones who are struggling. Past Scott is reeling not just from coming face-to-face with his less-than-noble self, but also with the changed views that his friends now have of him, given what they now know. Immonen -- who's great throughout this issue -- makes these altered feelings clear from a wordless two panels of past Jean and past Scott exchanging a somewhat hostile glare. Moreover, the other X-Men -- like Iceman, Storm, and Wolverine -- are also still trying to process everything. (I love Bobby screaming every time he encounters the original X-Men.) You can tell that they're desperate for a plan to return the genie to the bottle that Hank opened, but the time to do so is increasingly past.
But, even with all this awesomeness, perhaps the best idea that Bendis floats here is that Hank won. Sure, we can all pretend that Hank did it to get Scott to see the error of his ways. I mean, OK, he probably did it mostly for that reason. But, I also don't think that Emma is wrong that he also did it to punish Scott. The scene of Scott gritting his teeth at that suggestion is excellent, a clear sign that this fight between Hank and Scott is now officially past the point of no return.
I will say that I'm still not 100% sure of the timeline of the events. I think, if I'm pulling it all together correctly, they broke Emma free, saved the Aussie girl, saved the healer guy, and then confronted the original X-Men. It's not a big deal, though, particularly since I think it'll become clearer when I re-read the first few issues.
All in all, I just have to say that this series is increasingly becoming one of my favorites hitting the stands. Well freaking done, BMB. I know that we'll have a down moment soon, but these four issues have been some of the strongest I've ever read to start a series.
Bendis does a spectacular job delivering the scene that essentially sets up this entire series, of present Scott meeting past Scott. Bendis manages to approach this meeting on two levels. First, he actually reminds us why Hank thought Scott needed this moment in the first place. From referring to mutantkind as "my mutant people" to intimating that he has more right to be mad at Emma than she does at him, Scott is the same self-delusional prick that he's been over the last few months. On the various Avengers books, Bendis generally had a character act the way that he needed them to act to further a plot, even if it conflicted with his or her established persona Here, Bendis is actually doing a great job of staying on target when it comes to Scott's characterization. As we also saw in "AVX: Consequences," Scott hasn't learned any lessons from "Avengers vs. X-Men," seeing the whole battle as an unfortunate series of events caused by people not listening to him. By giving us a tour of how self-centered Scott's thoughts are upon seeing the original X-Men, Bendis reminds us why Hank felt that he needed to do something drastic to shake present Scott from his insanity.
Second, however, Bendis cleverly makes it clear that Hank may have actually succeeded in shaking up Scott. At some point, Scott stops trying to determine which villain is tricking him and realizes that it is really the original X-Men standing in front of him, a realization made all the more poignant by the fact that it includes past Jean. I thought Bendis made a wise decision in having the spark of conflict between Cyclops and the original X-Men actually come from Jean, who strikes at Scott as a result of not being able to screen out his thoughts, including his murder of Professor X and his love for her. I was wondering what the catalyst would be and this one makes sense, particularly as the other X-Men leap to her defense when she's accidentally hit by present Scott after his visor comes loose. Magneto wisely extricates them from the situation and everyone returns to their corners.
I also thought Bendis also did a great job with Magneto here. Magneto relates the story to Emma and his fury at the idea that someone pulled the original X-Men from the time stream is palpable. It's not too much of a stretch to realize that Magneto is also seeing himself through their eyes, contemplating the unapologetic mutant terrorist that he used to be. Even if he's thrown in his lot with Scott right now, Magneto hasn't really seen himself as brutal as he was in years, so it's probably got to be a shock to be treated as the person that he used to be, but hasn't been in a long time.
Clearly, though, the Brotherhood aren't the only ones who are struggling. Past Scott is reeling not just from coming face-to-face with his less-than-noble self, but also with the changed views that his friends now have of him, given what they now know. Immonen -- who's great throughout this issue -- makes these altered feelings clear from a wordless two panels of past Jean and past Scott exchanging a somewhat hostile glare. Moreover, the other X-Men -- like Iceman, Storm, and Wolverine -- are also still trying to process everything. (I love Bobby screaming every time he encounters the original X-Men.) You can tell that they're desperate for a plan to return the genie to the bottle that Hank opened, but the time to do so is increasingly past.
But, even with all this awesomeness, perhaps the best idea that Bendis floats here is that Hank won. Sure, we can all pretend that Hank did it to get Scott to see the error of his ways. I mean, OK, he probably did it mostly for that reason. But, I also don't think that Emma is wrong that he also did it to punish Scott. The scene of Scott gritting his teeth at that suggestion is excellent, a clear sign that this fight between Hank and Scott is now officially past the point of no return.
I will say that I'm still not 100% sure of the timeline of the events. I think, if I'm pulling it all together correctly, they broke Emma free, saved the Aussie girl, saved the healer guy, and then confronted the original X-Men. It's not a big deal, though, particularly since I think it'll become clearer when I re-read the first few issues.
All in all, I just have to say that this series is increasingly becoming one of my favorites hitting the stands. Well freaking done, BMB. I know that we'll have a down moment soon, but these four issues have been some of the strongest I've ever read to start a series.
Saturday, February 9, 2013
A+X #3 (HERE BE SPOILERS!)
Seriously, for disposable stories, I'm not paying $3.99 a month. Ciao-sy.
Thursday, February 7, 2013
Captain America and Black Widow #640 (HERE BE SPOILERS!)
I realized, at the end of this issue, that I never really clicked with this series, when it became the Kashmir Vennema show, because it never felt like a Marvel story. Maybe if Valiant or someone had produced this series, I would've thoroughly enjoyed the tale of a multidimensional arms-dealing corporation staffed entirely by multidimensional counterparts of the same woman that used multidimensional counterparts of our heroes to protect it. But, as a Marvel story and particularly a Captain America story, it just never really rung true.
Despite that, Bunn and Francavilla do their best here to give the concept some oomph. The result is a trippy ride through an unfamiliar territory. Bunn makes it clear that Cap is clearly outside his element here. His insistence that the rebellious Kashmir Vennema and the sinister Black Widow not kill the inner circle of Vennema Multidimensional seemed ridiculously quaint and, as he himself notes, he was pretty clearly played by the rebellious Kashmir, who in the end, simply wanted to set up her own shop.
By the end of the issue, I have to say that I had a vague headache and didn't really care all that much. The Vennema story has consumed this series and it's a shame that an editor never managed to alter its direction when it became clear that it was a trope forced onto the series for lack of any better ideas. Moreover, after all the ink spilled on this saga, it is likely to be self-contained, never to be mentioned again elsewhere in the Marvel Universe. The fact that this title ends while Cap is stuck in yet another dimension in his main title just seems to be a weird coincidence that makes my head hurt all the more.
Despite that, Bunn and Francavilla do their best here to give the concept some oomph. The result is a trippy ride through an unfamiliar territory. Bunn makes it clear that Cap is clearly outside his element here. His insistence that the rebellious Kashmir Vennema and the sinister Black Widow not kill the inner circle of Vennema Multidimensional seemed ridiculously quaint and, as he himself notes, he was pretty clearly played by the rebellious Kashmir, who in the end, simply wanted to set up her own shop.
By the end of the issue, I have to say that I had a vague headache and didn't really care all that much. The Vennema story has consumed this series and it's a shame that an editor never managed to alter its direction when it became clear that it was a trope forced onto the series for lack of any better ideas. Moreover, after all the ink spilled on this saga, it is likely to be self-contained, never to be mentioned again elsewhere in the Marvel Universe. The fact that this title ends while Cap is stuck in yet another dimension in his main title just seems to be a weird coincidence that makes my head hurt all the more.
Aquaman #15 (HERE BE SPOILERS!)
I...just really don't get this issue.
I mean, I get the big picture. Someone, possibly related to the weird zombie Atlanteans that we see escape here, is manipulating events to set Atlantis against the U.S. I get that part. In fact, I feel like Johns does a nice job here of showing why it's a Justice League problem and not just an Aquaman, Batman, or Superman problem.
But, I don't get why the Justice League is so bent on defining Aquaman's brother as a murderer. After all, they shot first. Aren't they, by their logic, also murderers? It seems uncharacteristically black-and-white for Batman and Superman in particular. (I have some recollection of Johns writing another storyline in "Justice League" in a similar way, though I can't recall which one exactly.) I just have problems believing that neither Batman nor Superman could take a deep breath and give Aquaman the space that he needs to resolve the impasse peacefully. Moreover, I don't see how Batman in particular hasn't already focused on the problem of why the U.S.S. Mabus unintentionally shot its missiles. After all, Vulko pretty clearly says that someone is manipulating events, so, even if it hadn't dawned on Batman on his own, he's had someone shine a bright light on the problem. But, instead, we're still pretending that Atlantis is some sort of unreasonable aggressor. Bizarre.
Unfortunately, this odd approach to the conflict overshadows the best part of this issue, namely Aquaman and Batman's interactions. Johns manages to inject some much-needed humor into their conversations, which is a welcome step. He's played up their adversarial relationship for most of this series, but, here, we see a thaw. Arthur tells Bruce a little about himself and Bruce rewards this trust by giving him a chance to bargain with his brother. It's why the last scene of this issue is so bizarre, since it ignores that progress and return right to the status quo when it comes to the two of them. Aquaman behaves as irrationally as the rest of them were behaving. The only revelation that would make sense is that it's some sort of plan that Arthur and Bruce hatched off-panel.
At any rate, I have to be honest, I'm starting to wonder why I'm still getting "Justice League." I mean, it's OK. But, it doesn't really seem to have the impact outside the title that I thought made it a must-have series. I mean, I read almost every Bat-family book and we didn't see any sort of tidal wave suddenly wipe out part of Gotham. If I don't have to read it, I'm starting to wonder why I do.
I mean, I get the big picture. Someone, possibly related to the weird zombie Atlanteans that we see escape here, is manipulating events to set Atlantis against the U.S. I get that part. In fact, I feel like Johns does a nice job here of showing why it's a Justice League problem and not just an Aquaman, Batman, or Superman problem.
But, I don't get why the Justice League is so bent on defining Aquaman's brother as a murderer. After all, they shot first. Aren't they, by their logic, also murderers? It seems uncharacteristically black-and-white for Batman and Superman in particular. (I have some recollection of Johns writing another storyline in "Justice League" in a similar way, though I can't recall which one exactly.) I just have problems believing that neither Batman nor Superman could take a deep breath and give Aquaman the space that he needs to resolve the impasse peacefully. Moreover, I don't see how Batman in particular hasn't already focused on the problem of why the U.S.S. Mabus unintentionally shot its missiles. After all, Vulko pretty clearly says that someone is manipulating events, so, even if it hadn't dawned on Batman on his own, he's had someone shine a bright light on the problem. But, instead, we're still pretending that Atlantis is some sort of unreasonable aggressor. Bizarre.
Unfortunately, this odd approach to the conflict overshadows the best part of this issue, namely Aquaman and Batman's interactions. Johns manages to inject some much-needed humor into their conversations, which is a welcome step. He's played up their adversarial relationship for most of this series, but, here, we see a thaw. Arthur tells Bruce a little about himself and Bruce rewards this trust by giving him a chance to bargain with his brother. It's why the last scene of this issue is so bizarre, since it ignores that progress and return right to the status quo when it comes to the two of them. Aquaman behaves as irrationally as the rest of them were behaving. The only revelation that would make sense is that it's some sort of plan that Arthur and Bruce hatched off-panel.
At any rate, I have to be honest, I'm starting to wonder why I'm still getting "Justice League." I mean, it's OK. But, it doesn't really seem to have the impact outside the title that I thought made it a must-have series. I mean, I read almost every Bat-family book and we didn't see any sort of tidal wave suddenly wipe out part of Gotham. If I don't have to read it, I'm starting to wonder why I do.
Justice League #15 (HERE BE SPOILERS!)
This issue was OK. It wasn't great, but, given the state of the DCnU, OK is actually pretty good.
The main story focuses on Aquaman's brother declaring war on the the U.S. It's still unclear to me why he would do so, particularly since he seemed pretty docile in "Aquaman" #14. It could have something to do with the U.S.S. Mabus unintentionally firing missiles on an underwater colony, but Johns hasn't connected those dots yet. He simply sets up the mystery of who took over the controls and fired the missiles without hinting at responsibility.
Most notably, perhaps, Johns also spends some time building the relationship between Clark and Diana. Although I'm not really buying the romance angle, I thought their conversation was pretty interesting. Clark is essentially serving as a mentor to Diana, showing her how she can hide in plain sight among humanity and maybe have a real life. I thought Reis did a really spectacular job on the scene of them having dinner together, especially capturing Diana's joy at realizing that Clark could be onto something. That conversation is interrupted, though, when Aquaman's brother hurls the U.S.S. Mabus at Metropolis as part of a first strike in revenge for the attack. Aquaman, in Gotham seeking Bruce's help, recognizes the move as the beginning of Atlantis' attack plans and we now seem ready to roll in "Aquaman" #15.
In terms of the Shazam back-up story, Johns seemed to be giving us yet another "Billy and Freddy go wild" story. But, half-way through the story, we actually start getting somewhere. Billy announces that he's going to stay an adult and the fight that Freddy and he have because of it is pretty realistic. (Well, it's as realistic as a kid fighting with his friend who suddenly became a super-powered adult could be.) But, the main event is the arrival of Black Adam, at long last. I'm definitely excited to see where this one goes.
The main story focuses on Aquaman's brother declaring war on the the U.S. It's still unclear to me why he would do so, particularly since he seemed pretty docile in "Aquaman" #14. It could have something to do with the U.S.S. Mabus unintentionally firing missiles on an underwater colony, but Johns hasn't connected those dots yet. He simply sets up the mystery of who took over the controls and fired the missiles without hinting at responsibility.
Most notably, perhaps, Johns also spends some time building the relationship between Clark and Diana. Although I'm not really buying the romance angle, I thought their conversation was pretty interesting. Clark is essentially serving as a mentor to Diana, showing her how she can hide in plain sight among humanity and maybe have a real life. I thought Reis did a really spectacular job on the scene of them having dinner together, especially capturing Diana's joy at realizing that Clark could be onto something. That conversation is interrupted, though, when Aquaman's brother hurls the U.S.S. Mabus at Metropolis as part of a first strike in revenge for the attack. Aquaman, in Gotham seeking Bruce's help, recognizes the move as the beginning of Atlantis' attack plans and we now seem ready to roll in "Aquaman" #15.
In terms of the Shazam back-up story, Johns seemed to be giving us yet another "Billy and Freddy go wild" story. But, half-way through the story, we actually start getting somewhere. Billy announces that he's going to stay an adult and the fight that Freddy and he have because of it is pretty realistic. (Well, it's as realistic as a kid fighting with his friend who suddenly became a super-powered adult could be.) But, the main event is the arrival of Black Adam, at long last. I'm definitely excited to see where this one goes.
Avenging Spider-Man #15.1 (HERE BE SPOILERS!)
With "Amazing Spider-Man" #700 behind us, Yost takes on the task of showing us Otto as he begins to contemplate his future as Spider-Man. I have to say that he manages to do so in a way that saves the concept for me a little, mostly because he shows Otto as still being Otto. My main lament with "Amazing Spider-Man" #700 was that Slott showed Otto as sloughing off his entire personality in order to honor Peter's legacy. Yost backs off that approach a bit and it makes this whole affair a little more believable.
Yost begins by showing Doc Ock exalting in his defeat of Spider-Man. To be honest, I somewhat missed this angle in "Amazing Spider-Man" #700, since I was more focused in how weird Otto's sudden conversion to heroism was. But, fair enough, I have to give Slott credit for letting Spider-Man be defeated. Moreover, as Otto says, he wasn't just defeated; he was totally defeated. I mean, a lot of people have compared this storyline to Bane breaking Batman during "Knightfall" (mostly due to the presumption that this entire change will be temporary, just as that one was). However, it really goes beyond that; after all, it's not like Bane then became Batman. So, Yost reminds us that we have to give Otto his due here.
But, he then reminds us why Otto isn't usually someone whom we want to generally shower with praise. We get pages and pages of Otto's usual bluffing here as he contemplates how superior to Peter he is, examining all the ways that Peter failed to meet his potential. Moreover, Yost makes clear that Otto is still in there somewhere as he begins to take a possibly different approach to heroism than Peter. After all, how many superheroes have several secret lairs scattered around the world?
It's Otto's return to one of his secret lairs that sets up the events that really make this issue for me. As Otto fights his own security system as Spider-Man, he realizes just how frequently Spider-Man beat him. Yost echoes JJJ, Jr.'s comments in issue #700 about Otto being a loser and Otto seems to take those sentiments to heart here. I felt like Yost did a great job showing that it took Otto defeating himself as Spider-Man to create that self-doubt. It's really using this whole body-switch shtick to its full potential rather than a convenient gimmick. It shows Otto engaging with the world in a way that he didn't previously. As such, Yost now makes Otto's journey not only about addressing Peter's weaknesses, but his own as well. (At least now he doesn't have the weak chin.)
It's this tweak that makes me happier. Slott asserted that Otto essentially became a better person the minute that he received the totality of Peter's memories. But, here, Yost lays the groundwork for Otto to get to heroism his own way, striving to correct the weaknesses that he also let hinder him achieving his full potential. If Slott focuses on that story, I might be able to handle "Superior Spider-Man" a little better than I thought I would.
Yost begins by showing Doc Ock exalting in his defeat of Spider-Man. To be honest, I somewhat missed this angle in "Amazing Spider-Man" #700, since I was more focused in how weird Otto's sudden conversion to heroism was. But, fair enough, I have to give Slott credit for letting Spider-Man be defeated. Moreover, as Otto says, he wasn't just defeated; he was totally defeated. I mean, a lot of people have compared this storyline to Bane breaking Batman during "Knightfall" (mostly due to the presumption that this entire change will be temporary, just as that one was). However, it really goes beyond that; after all, it's not like Bane then became Batman. So, Yost reminds us that we have to give Otto his due here.
But, he then reminds us why Otto isn't usually someone whom we want to generally shower with praise. We get pages and pages of Otto's usual bluffing here as he contemplates how superior to Peter he is, examining all the ways that Peter failed to meet his potential. Moreover, Yost makes clear that Otto is still in there somewhere as he begins to take a possibly different approach to heroism than Peter. After all, how many superheroes have several secret lairs scattered around the world?
It's Otto's return to one of his secret lairs that sets up the events that really make this issue for me. As Otto fights his own security system as Spider-Man, he realizes just how frequently Spider-Man beat him. Yost echoes JJJ, Jr.'s comments in issue #700 about Otto being a loser and Otto seems to take those sentiments to heart here. I felt like Yost did a great job showing that it took Otto defeating himself as Spider-Man to create that self-doubt. It's really using this whole body-switch shtick to its full potential rather than a convenient gimmick. It shows Otto engaging with the world in a way that he didn't previously. As such, Yost now makes Otto's journey not only about addressing Peter's weaknesses, but his own as well. (At least now he doesn't have the weak chin.)
It's this tweak that makes me happier. Slott asserted that Otto essentially became a better person the minute that he received the totality of Peter's memories. But, here, Yost lays the groundwork for Otto to get to heroism his own way, striving to correct the weaknesses that he also let hinder him achieving his full potential. If Slott focuses on that story, I might be able to handle "Superior Spider-Man" a little better than I thought I would.
Wednesday, February 6, 2013
Amazing Spider-Man #700 (HERE BE SPOILERS!)
Honestly, I don't know what to say. I mentioned previously that I knew that Otto becomes Peter and, thus, Spider-Man before reading this arc. As such, I know that the emotional impact of this issue was limited for me since I went into it knowing the end result. With that caveat, I'll try to lay out my thoughts here as coherently as I can.
When you strip away everything else, the story that Slott wants us to accept revolves around whether you believe that Otto would be so inspired by the adversity and challenges that Peter has faced and overcome in his life that he would commit to upholding his legacy and memory.
In the end, I really just don't buy it.
I mean, we're dealing with the man who a few issues ago aspired to be more deadly than Genghis Khan, Hitler, and Pol Pot. Slott would have us believe that Otto will leave behind his murderous ways because he now understand how precious life is, a lesson he learned by experiencing the various tragedies that have befallen Peter over the course of his career. (I'm not even going to address whether I think that it's possible for the memory transfer to happen. I'm willing to concede that point to Slott.) In fact, Slott seems to poison the well for Peter's eventual return as Spider-Man by claiming that Peter valued life so much that he had come to the conclusion that he could never again be Spider-Man, even if he managed to get back his body, because he intended on killing Otto by hurling them out the building. (Honestly, this part didn't make that much sense to me, since Peter seemed to have a variety of options other than hurling them out the window. But, again, I'm just willing to give Slott the mulligan and focus on the issue at hand.)
However, I just don't really believe that Otto would come to this conclusion. Peter may have come to the conclusion that life was precious based on his life experiences, but I think Slott is significantly oversimplifying matters by saying that Otto would. Sure, maybe he would be inspired to do so in the first few days after Peter's death. But, Otto still also has his memories and his personality in there. At the end of the day, Slott seems to be arguing that the only influence that Otto will have over "Spider-Man" is that he'll be more aggressive. Otherwise, it'll be the same Spider-Man. In essence, he's arguing that Peter's moral code is stronger than Otto's villainous impulses. I think that it's this part that I specifically don't buy. After all, most comics depict it being much more difficult to be good when given super-powers than it is to be evil. It's why we're supposed to idolize heroes, because they manage to suppress humanity's darkest impulses and display our idealized selves. If it were easy being a hero, we wouldn't have them.
Given Otto's predisposition to evil, I really don't think that Peter's lecture about great responsibility is going to inspire him to overcome his entire persona. You don't go from trying to destroy the entire population of the world (except enough people to make your greatest enemy feel guilty for failing to defeat you) to feeling so overcome with emotion when you realize how awesome your greatest enemy really was that you're willing to give up who you are. After all, we've seen glimpses of the difficulties that Otto faced in his life. Don't they matter? Don't his tragedies matter? Don't his failings help make him who he is?
To sum, in this issue, Dan Slott turns Peter into a murderer (at least in his own mind) and then has his body and soul replaced by a man who aspired to be Hitler. You can see where I'm not exactly in the mood to celebrate this change.
Where does that leave me? I mean, I don't buy that Otto Octavius is Spider-Man. Do I buy (literally) "Superior Spider-Man?" The good news is that I also don't buy that he's going to be Spider-Man for long. I mean, I'm not going to go hysterical here. My greatest hope is that Slott, when he inevitably has to undo this change, is going to do a reverse "Brand New Day" with MJ. Whereas, in "One More Day," MJ was the one who gave the green light to wiping out her marriage to Peter, I have to hope that she will be the one to usher Peter back into existence once again. (Maybe Carlie will mention what "Doc Ock" told her and she'll intuitively know that it's true.) After all, with comments like, "Not now, woman," you have to assume that MJ is going to realize at some point that she's not dealing with Peter. At least, you hope she does. Because, after all, Otto's commitment to a relationship with MJ is perhaps the most troubling aspect of this change. In fact, I cringe at the thought of reading "Superior Spider-Man" and watching Otto Octavius kissing Mary Jane Parker. Do I buy it?
The answer is that I'm giving it three issues. Three. It's actually more charitable than I feel. If Joker were to wind up replacing Batman at the end of the "Death of the Family," I'd drop that series like a hot potato. But, it's Spider-Man. I'll give Slott one issue for every decade that I've read "Amazing Spider-Man." If he doesn't convince me that Otto Octavius provides something unique to Spider-Man that Peter Parker didn't, I'm done until Peter really returns. The good news is that probably won't take very long.
When you strip away everything else, the story that Slott wants us to accept revolves around whether you believe that Otto would be so inspired by the adversity and challenges that Peter has faced and overcome in his life that he would commit to upholding his legacy and memory.
In the end, I really just don't buy it.
I mean, we're dealing with the man who a few issues ago aspired to be more deadly than Genghis Khan, Hitler, and Pol Pot. Slott would have us believe that Otto will leave behind his murderous ways because he now understand how precious life is, a lesson he learned by experiencing the various tragedies that have befallen Peter over the course of his career. (I'm not even going to address whether I think that it's possible for the memory transfer to happen. I'm willing to concede that point to Slott.) In fact, Slott seems to poison the well for Peter's eventual return as Spider-Man by claiming that Peter valued life so much that he had come to the conclusion that he could never again be Spider-Man, even if he managed to get back his body, because he intended on killing Otto by hurling them out the building. (Honestly, this part didn't make that much sense to me, since Peter seemed to have a variety of options other than hurling them out the window. But, again, I'm just willing to give Slott the mulligan and focus on the issue at hand.)
However, I just don't really believe that Otto would come to this conclusion. Peter may have come to the conclusion that life was precious based on his life experiences, but I think Slott is significantly oversimplifying matters by saying that Otto would. Sure, maybe he would be inspired to do so in the first few days after Peter's death. But, Otto still also has his memories and his personality in there. At the end of the day, Slott seems to be arguing that the only influence that Otto will have over "Spider-Man" is that he'll be more aggressive. Otherwise, it'll be the same Spider-Man. In essence, he's arguing that Peter's moral code is stronger than Otto's villainous impulses. I think that it's this part that I specifically don't buy. After all, most comics depict it being much more difficult to be good when given super-powers than it is to be evil. It's why we're supposed to idolize heroes, because they manage to suppress humanity's darkest impulses and display our idealized selves. If it were easy being a hero, we wouldn't have them.
Given Otto's predisposition to evil, I really don't think that Peter's lecture about great responsibility is going to inspire him to overcome his entire persona. You don't go from trying to destroy the entire population of the world (except enough people to make your greatest enemy feel guilty for failing to defeat you) to feeling so overcome with emotion when you realize how awesome your greatest enemy really was that you're willing to give up who you are. After all, we've seen glimpses of the difficulties that Otto faced in his life. Don't they matter? Don't his tragedies matter? Don't his failings help make him who he is?
To sum, in this issue, Dan Slott turns Peter into a murderer (at least in his own mind) and then has his body and soul replaced by a man who aspired to be Hitler. You can see where I'm not exactly in the mood to celebrate this change.
Where does that leave me? I mean, I don't buy that Otto Octavius is Spider-Man. Do I buy (literally) "Superior Spider-Man?" The good news is that I also don't buy that he's going to be Spider-Man for long. I mean, I'm not going to go hysterical here. My greatest hope is that Slott, when he inevitably has to undo this change, is going to do a reverse "Brand New Day" with MJ. Whereas, in "One More Day," MJ was the one who gave the green light to wiping out her marriage to Peter, I have to hope that she will be the one to usher Peter back into existence once again. (Maybe Carlie will mention what "Doc Ock" told her and she'll intuitively know that it's true.) After all, with comments like, "Not now, woman," you have to assume that MJ is going to realize at some point that she's not dealing with Peter. At least, you hope she does. Because, after all, Otto's commitment to a relationship with MJ is perhaps the most troubling aspect of this change. In fact, I cringe at the thought of reading "Superior Spider-Man" and watching Otto Octavius kissing Mary Jane Parker. Do I buy it?
The answer is that I'm giving it three issues. Three. It's actually more charitable than I feel. If Joker were to wind up replacing Batman at the end of the "Death of the Family," I'd drop that series like a hot potato. But, it's Spider-Man. I'll give Slott one issue for every decade that I've read "Amazing Spider-Man." If he doesn't convince me that Otto Octavius provides something unique to Spider-Man that Peter Parker didn't, I'm done until Peter really returns. The good news is that probably won't take very long.
Tuesday, February 5, 2013
Teen Titans #15 (HERE BE SPOILERS!)
[Sigh.]
If you can't tell, I've been driven to distraction by the focus on whether Joker knows the Bat-family's secret identities in most of the "Death of the Family" issues. The question dominates this issue in a way that I have difficulty understanding Yes, Tim. Given that he stripped you naked and put on your original Red Robin uniform, I think it's safe to say Joker might've actually taken off your domino mask and figured out your identity.
[Sigh.]
Another problem with this issue is that it's poorly coordination with "Red Hood and the Outlaws" #15, even though they're theoretically double cross-over issues. At the end of that issue, we see Jason getting thrown into a pit with Tim, despite the fact that Tim is all alone here. Moreover, Arsenal doesn't say what we see him say here to the Teen Titans.
[Sigh.]
I will say that reading this issue made me realize how glad I am that I'm not getting this title. I just really don't like the asshole that Lobdell writes Tim as being and I'm glad that I'm not forcing myself to witness it anymore.
[Sigh.]
If you can't tell, I've been driven to distraction by the focus on whether Joker knows the Bat-family's secret identities in most of the "Death of the Family" issues. The question dominates this issue in a way that I have difficulty understanding Yes, Tim. Given that he stripped you naked and put on your original Red Robin uniform, I think it's safe to say Joker might've actually taken off your domino mask and figured out your identity.
[Sigh.]
Another problem with this issue is that it's poorly coordination with "Red Hood and the Outlaws" #15, even though they're theoretically double cross-over issues. At the end of that issue, we see Jason getting thrown into a pit with Tim, despite the fact that Tim is all alone here. Moreover, Arsenal doesn't say what we see him say here to the Teen Titans.
[Sigh.]
I will say that reading this issue made me realize how glad I am that I'm not getting this title. I just really don't like the asshole that Lobdell writes Tim as being and I'm glad that I'm not forcing myself to witness it anymore.
[Sigh.]
Suicide Squad #15 (HERE BE SPOILERS!)
I will admit that I totally hear the voices of Mark Hamill and Arleen Sorkin when I read conversations between Joker and Harley, something that actually made this issue all the more enjoyable for me.
I don't read "Suicide Squad" and I'm not really all that big of a fan of Harley. But, Glass delivers an excellent character study here, really delving into the relationship that she and Joker have. You could really feel her heart break when she realized that Joker had given rabies to her hyenas, forcing her to kill them. In fact, Glass actually shows just how far gone Joker is, because he's willing to inflict the same harm on Harley as he is on the Bat-family. This issue isn't essential to "Death of the Family," but I enjoyed it. It focused more on the changed Joker than it did the secret identities and I found the former a lot more interesting than the latter. (Plus, the revelation that Joker had other Harleys in the DCnU was mind-blowing.)
I don't read "Suicide Squad" and I'm not really all that big of a fan of Harley. But, Glass delivers an excellent character study here, really delving into the relationship that she and Joker have. You could really feel her heart break when she realized that Joker had given rabies to her hyenas, forcing her to kill them. In fact, Glass actually shows just how far gone Joker is, because he's willing to inflict the same harm on Harley as he is on the Bat-family. This issue isn't essential to "Death of the Family," but I enjoyed it. It focused more on the changed Joker than it did the secret identities and I found the former a lot more interesting than the latter. (Plus, the revelation that Joker had other Harleys in the DCnU was mind-blowing.)
Red Hood and the Outlaws #15 (HERE BE SPOILERS!)
And, this issue is where everything related to "Death of the Family" goes to Hell in a handbasket.
Lobdell seems to assert here that the back-up story from "Red Hood and the Outlaws" #0, that Joker essentially created Jason, is canon, which seems to establish beyond a shadow of a doubt that Joker knows the identities of the Bat-family. Although Jason dares Joker to say his name here (something Joker doesn't do), it would be totally impossible for Joker to know all the details of Jason's life, as he displays here, and not know that he was Robin. In fact, if we end this event with the revelation that Joker didn't know their identities, I think I'm done with the DCnU. No, really. I just don't see how they could possibly explain that Joker crafted every aspect of Jason's life to install him as Robin but somehow didn't know his identity in a way that would be believable. Ugh.
Beyond the Joker angle, Lobdell is at his unbelievable best here. First, he he has Roy and Starfire fly to Gotham because Roy had hacked Jason's phone and forwarded calls that "sounded" important. WTF? Beyond whether such a thing is technically possible, why would he do that? Second, Lobdell has Jason refer to the events of "Batman" #15, but I don't see how he could've been in the Batcave AND in outer space at the same time. UGH.
Also, I feel totally robbed that Kenneth Rocafort didn't give us Jason fighting off the GPD in a towel and we had to settle for Timothy Green II instead.
Lobdell seems to assert here that the back-up story from "Red Hood and the Outlaws" #0, that Joker essentially created Jason, is canon, which seems to establish beyond a shadow of a doubt that Joker knows the identities of the Bat-family. Although Jason dares Joker to say his name here (something Joker doesn't do), it would be totally impossible for Joker to know all the details of Jason's life, as he displays here, and not know that he was Robin. In fact, if we end this event with the revelation that Joker didn't know their identities, I think I'm done with the DCnU. No, really. I just don't see how they could possibly explain that Joker crafted every aspect of Jason's life to install him as Robin but somehow didn't know his identity in a way that would be believable. Ugh.
Beyond the Joker angle, Lobdell is at his unbelievable best here. First, he he has Roy and Starfire fly to Gotham because Roy had hacked Jason's phone and forwarded calls that "sounded" important. WTF? Beyond whether such a thing is technically possible, why would he do that? Second, Lobdell has Jason refer to the events of "Batman" #15, but I don't see how he could've been in the Batcave AND in outer space at the same time. UGH.
Also, I feel totally robbed that Kenneth Rocafort didn't give us Jason fighting off the GPD in a towel and we had to settle for Timothy Green II instead.
Nightwing #15 (HERE BE SPOILERS!)
All right, if we put aside the question of how Joker has kidnapped Alfred, Barbara's mother, and Damian, freed Raya from prison, murdered Isabel and Jimmy, and shanghaied the Penguin all in the span of a few hours, Higgins delivers a pretty decent issue. It's not quite as good as "Batgirl" #15, but he does use Joker in some pretty obvious yet still impactful ways here. After all, as Dick himself essentially acknowledges, Haly's Circus is pretty much one big red flag waved in the face of a returned Joker.
Unlike the main titles ("Batman," "Batman and Robin," and "Detective Comics"), Higgins and Simone have done the best in making Joker's attack on people close to Dick and Barbara seems coincidental and not necessarily a sign that he knows their identities. For example, he kidnapped Barbara's mother because she's Commissioner Gordon's ex-wife; moreover, Barbara only stumbled upon the kidnapping because James directed her there. Similarly, Joker goes after Jimmy the clown because of the posters showing a resemblance between the two of them. Unfortunately, I'll say that the use of Raya is a little more difficult to justify, given that her story is pretty directly related to Dick and not Nightwing. I mean, Saiko may have fought Nightwing (and Raya may have helped Saiko), but it all had to do with Bruce saving Dick from becoming a Talon, putting Saiko next in line for the "honor." It had nothing really to do with Nightwing. So, I'm only left to believe that Joker chose her because of her connection with Haly's Circus, but it makes you wonder why it had to be her. Why not pick one of the many people who work for the circus? Her connection to Dick seems a little too strong to be coincidental.
Higgins does manage to focus on something beyond "Death of the Family." Dick and Sonia finally kiss and it goes pretty much how you'd expect it to go, with Dick being unable to think of her as anyone other than Tony Zucco's daughter. After the interruptions caused by "Night of the Owls" and now "Death of the Family," I'm excited for us to eventually return to this plot and really start to get somewhere with it. But, we have a while yet before we get there, unfortunately. Again, Higgins did a better job here than I feel like Snyder is doing in the main title, in terms of keeping up the mystery, but it still felt forced. We'll see how it goes.
Unlike the main titles ("Batman," "Batman and Robin," and "Detective Comics"), Higgins and Simone have done the best in making Joker's attack on people close to Dick and Barbara seems coincidental and not necessarily a sign that he knows their identities. For example, he kidnapped Barbara's mother because she's Commissioner Gordon's ex-wife; moreover, Barbara only stumbled upon the kidnapping because James directed her there. Similarly, Joker goes after Jimmy the clown because of the posters showing a resemblance between the two of them. Unfortunately, I'll say that the use of Raya is a little more difficult to justify, given that her story is pretty directly related to Dick and not Nightwing. I mean, Saiko may have fought Nightwing (and Raya may have helped Saiko), but it all had to do with Bruce saving Dick from becoming a Talon, putting Saiko next in line for the "honor." It had nothing really to do with Nightwing. So, I'm only left to believe that Joker chose her because of her connection with Haly's Circus, but it makes you wonder why it had to be her. Why not pick one of the many people who work for the circus? Her connection to Dick seems a little too strong to be coincidental.
Higgins does manage to focus on something beyond "Death of the Family." Dick and Sonia finally kiss and it goes pretty much how you'd expect it to go, with Dick being unable to think of her as anyone other than Tony Zucco's daughter. After the interruptions caused by "Night of the Owls" and now "Death of the Family," I'm excited for us to eventually return to this plot and really start to get somewhere with it. But, we have a while yet before we get there, unfortunately. Again, Higgins did a better job here than I feel like Snyder is doing in the main title, in terms of keeping up the mystery, but it still felt forced. We'll see how it goes.
Batgirl #15 (HERE BE SPOILERS!)
If you've been reading this blog for a while, you know that I've probably been most consistently impressed with this title of all the Bat-related DCnU titles. (In fact, of all the DC titles that I'm getting, I probably would only place "Earth 2" above it.) Simone just really seems to get the DCnU concept, showing us a familiar Barbara, but with some important differences. Perhaps the most notable one is that she's more aggressive than usual, from her fighting style to her personal relationships. Simone really takes that ball and runs with it here, using the "Death of the Family" conceit better than anyone else so far as she shows how Joker brings out the darkest characteristics of his opponents.
Whereas Snyder seems more focused on the question of whether Joker knows the identities of the Bat-family, Simone really picks up the other major theme of this event, the fact that Joker is even more brilliantly unbalanced than he normally is. We see it in this issue with his fairly elaborate plan for making Barbara his bride, an emotionally devastating proposal that goes beyond simply torturing her and strikes at the heart of their disturbing relationship. But, as I mentioned above, Simone has Joker bring out the worst in Barbara, showing a level of aggression that impresses Joker. Batgirl not only pounds on him severely, fueled by rage and a fantasy of killing him, but she clearly also has a plan up her sleeve. After all, do we really think that she just went to buy flowers and a veil? The best part is that Simone shows us that Joker is more than likely aware of the fact that Barbara is going to come at him and, in fact, is titillated by it, excited to see what she throws at him. Unlike Batman, who seems totally off his game, Barbara is meeting Joker step for brilliant step and I honestly can't wait to see where we go.
Finally, Simone really ups the ante by pulling James into the mix. James clearly views his mother and sister as his toys and he's angry that Joker is playing with him. The prospect of the new Joker playing with the old Joker? Exciting. So far, "Batgirl" is saving "Death of the Family" for me and I'd recommend anyone enjoying this event to pick up these issues.
Whereas Snyder seems more focused on the question of whether Joker knows the identities of the Bat-family, Simone really picks up the other major theme of this event, the fact that Joker is even more brilliantly unbalanced than he normally is. We see it in this issue with his fairly elaborate plan for making Barbara his bride, an emotionally devastating proposal that goes beyond simply torturing her and strikes at the heart of their disturbing relationship. But, as I mentioned above, Simone has Joker bring out the worst in Barbara, showing a level of aggression that impresses Joker. Batgirl not only pounds on him severely, fueled by rage and a fantasy of killing him, but she clearly also has a plan up her sleeve. After all, do we really think that she just went to buy flowers and a veil? The best part is that Simone shows us that Joker is more than likely aware of the fact that Barbara is going to come at him and, in fact, is titillated by it, excited to see what she throws at him. Unlike Batman, who seems totally off his game, Barbara is meeting Joker step for brilliant step and I honestly can't wait to see where we go.
Finally, Simone really ups the ante by pulling James into the mix. James clearly views his mother and sister as his toys and he's angry that Joker is playing with him. The prospect of the new Joker playing with the old Joker? Exciting. So far, "Batgirl" is saving "Death of the Family" for me and I'd recommend anyone enjoying this event to pick up these issues.
Detective Comics #15 (HERE BE SPOILERS!)
This issue has little to do with "Death of the Family," something that didn't bother me since I'm not really digging that event right now. But, despite the branding, it actually winds up being one of the best self-contained Batman stories that I've read in a really, really long time.
Layman gets to the heart of Clayface and Poison Ivy here, portraying Clayface as suffering from a loneliness that I haven't really seen attached to him since BTAS and Poison Ivy as more coldly manipulative than I remember. These nuances work well, with Layman playing them off one another to bring the duo together: Ivy needs Clayface to protect her from her enemies and Clayface needs someone to need him. Beyond just Clayface and Poison Ivy, I liked what Layman does with Bruce here. He shows him as holding some compassion for his enemies, lamenting that he's forced to break Clayface completely by showing him that Poison Ivy has been playing him all along. Bruce often lacks that compassion, putting the dark in the Dark Knight. But, we do occasionally need to be reminded that he's not a sociopath and Layman does that well here.
But, the most interesting twist, to me, was Layman turning Oglivy, Penguin's consigliere, into a villain. I doubt anyone had the intention of doing so when Oglivy first started to appear, so I really have to given Layman credit for the innovation here. But, it also makes sense. I totally buy that self-delusional Penguin hasn't realized that Oglivy really runs his criminal empire, so Oglivy seizing the organization from Penguin as he disappears into Arkham makes sense. Plus, I love that he's calling himself Emperor Penguin. Great stuff.
A new take on two old villains, the surprising revelation of a new unexpected villain: color me impressed. After suffering under Tony Daniel for so long, I have a new found hope for this series.
Layman gets to the heart of Clayface and Poison Ivy here, portraying Clayface as suffering from a loneliness that I haven't really seen attached to him since BTAS and Poison Ivy as more coldly manipulative than I remember. These nuances work well, with Layman playing them off one another to bring the duo together: Ivy needs Clayface to protect her from her enemies and Clayface needs someone to need him. Beyond just Clayface and Poison Ivy, I liked what Layman does with Bruce here. He shows him as holding some compassion for his enemies, lamenting that he's forced to break Clayface completely by showing him that Poison Ivy has been playing him all along. Bruce often lacks that compassion, putting the dark in the Dark Knight. But, we do occasionally need to be reminded that he's not a sociopath and Layman does that well here.
But, the most interesting twist, to me, was Layman turning Oglivy, Penguin's consigliere, into a villain. I doubt anyone had the intention of doing so when Oglivy first started to appear, so I really have to given Layman credit for the innovation here. But, it also makes sense. I totally buy that self-delusional Penguin hasn't realized that Oglivy really runs his criminal empire, so Oglivy seizing the organization from Penguin as he disappears into Arkham makes sense. Plus, I love that he's calling himself Emperor Penguin. Great stuff.
A new take on two old villains, the surprising revelation of a new unexpected villain: color me impressed. After suffering under Tony Daniel for so long, I have a new found hope for this series.
Monday, February 4, 2013
Batman and Robin #15 (HERE BE SPOILERS!)
I was really, really excited about this issue after the first few pages. I liked the idea of Damian going after Alfred. It seemed the sort of contained niche story really well suited to this title that would provide some sort of balance to the ambitious overall story driving the event. But, then, everything goes wrong. Rather than existing on the margins, this story is suddenly thrust into the middle of the event as Joker appears and goes after Damian. The problem, of course, is that it immediately raises the identity problem in my mind. This whole cross-over event is based on the question whether Joker knows the Bat-family's identities. Well, here, he has Damian hostage, but he does nothing to remove his mask and learn his identity. So, either Joker knows his identity or he doesn't care about it. Either way, it seems to tacitly undermine the entire point of the event, either answering the main question or dismissing it as an irrelevant conceit. Moreover, Tomasi really doesn't have an ear for Joker's voice, making it difficult to believe the threat that Damian was purportedly facing. All in all, it was a weak issue not helped by the fact that I'm finding "Death of the Family" overall weak.
Batman #15 (HERE BE SPOILERS!)
OK, so, I'm going to run through December's "Death of the Family" issues sequentially over the next few posts, so get ready for some crazy.
Despite the length of this issue and the pages upon pages of dialogue that fuels it, I really only have four overarching comments about it and, really, this arc:
1) At this stage, Snyder seems to be focusing mostly on rehashing the conceit of the Court of the Owls arc, calling into question whether Bruce is as infallible as everyone thinks that he is. Although that arc got muddled in its execution, Snyder did manage to present the idea that Bruce had been so blinded by his overconfidence in thinking that he understood how Gotham worked that he missed the threat that the Court posed to the city. Unfortunately, Snyder never really clarified what the Court wanted with Gotham, since we got distracted by the saga of the Owlman. Moreover, I was never fully sold on the idea that Bruce would've missed the presence of the Court in Gotham. But, overall, Snyder did manage to make his point about Bruce and his overconfidence, even if it wasn't all totally believable or clear. Here, you can use "find/replace" for Joker and the Court, as Snyder is clearly calling into question whether Bruce understands Joker as well as he thinks that he does. We see it throughout the issue, but most particularly when Bruce is arguing with Dick et al. over whether Joker had infiltrated the Batcave years ago. Dick et al. seem to believe that it's plausible that Joker did get into the Cave, given the card that he somehow got in the water, and, as such, that he has been aware of their identities for quite some time. Bruce, however, adamantly denies it. Although he provides some pretty compelling reasons why Joker wouldn't have been able to do so, his argument mainly falls on the lines that Bruce understands the game that Joker is playing. He stresses to them that Joker just wants them to think he was in the Cave to drive a wedge between all of them, provoking exactly this fight. Joker has succeeded in getting them to doubt Bruce and the tension of this arc is clearly going to be whether or not Bruce is right in his assertion that Joker doesn't actually know.
2) But, before we get to the question of their identities, I want to address something that has been bothering me about this arc so far, namely, the infallibility of Joker. The argument over the card seems to imply that Joker stuck that card there specifically to raise this fight years later. After all, why would Joker mention it to Dick et. al last issue if he didn't know exactly the fight that it would produce? He wanted them to question whether he had been in the Batcave or not. Now, he might have originally done it just to get Bruce to question that, so he's now simply using that prank, if you will, for another purpose years later. But, still, his confidence that mentioning the card would provoke exactly the fight that it does raises the possibility that Joker has been planning this event across his entire relationship with Batman, an assertion that really stretches my ability to suspend my disbelief. How would Joker know that Bruce would one day be surrounded by Dick, Barbara, Jason, Tim, and Damian? But, before I dismiss that scenario too easily, DC hasn't exactly not done its homework on this front. After all, we were led to believe in "Red Hood and the Outlaws" #0 that Joker pulled the strings to turn Jason into Robin. What if Snyder is saying that he created the entire Bat-family, if only to strip it from Batman later? Even if Snyder isn't going that far, it seems difficult to believe the level of coordination that we're already being asked to buy. The card simply seems to push us even farther down that road.
3) Returning to the issue of the identities of the Bat-family, it seems somewhat odd to me that Snyder is having this entire battle with Joker turn on the issue of whether he knows their identities or not. I've never been particularly interested in that question in "Batman," because it was always a moot point. Even if Joker knew, he was never going to undermine Batman by using it against him, because it wasn't going to be fun. I mean, of every superhero, Batman has always had one of the flimsiest secret identities as a result of the presence of Robin at his side. After all, if Tim Drake guessed his identity from the transition of Dick to Jason and then the death of Jason, it stands to reason that Joker, with his obsession with Batman, could do so as well. (Of course, in the DCnU, Tim didn't guess his identity, as we learned in "Teen Titans" #0. I guess the #0s are one for two here, either way.) It just seems like he would have to know. In fact, I'm going to be more surprised in this arc if it's revealed that Joker doesn't know then I would be if he did know. In fact, if it's revealed that he doesn't know, I'm just not sure I'll buy it.
4) Speaking of obsession, I'm not sure where to go with this love theme. "Catwoman" #14 also played with this idea, with Selena feeling like Joker came after her as a rival for Bats' affection. I'm going to reserve judgment to see where we go with it, but I'm worried. Let's just say that I'm worried.
Despite the length of this issue and the pages upon pages of dialogue that fuels it, I really only have four overarching comments about it and, really, this arc:
1) At this stage, Snyder seems to be focusing mostly on rehashing the conceit of the Court of the Owls arc, calling into question whether Bruce is as infallible as everyone thinks that he is. Although that arc got muddled in its execution, Snyder did manage to present the idea that Bruce had been so blinded by his overconfidence in thinking that he understood how Gotham worked that he missed the threat that the Court posed to the city. Unfortunately, Snyder never really clarified what the Court wanted with Gotham, since we got distracted by the saga of the Owlman. Moreover, I was never fully sold on the idea that Bruce would've missed the presence of the Court in Gotham. But, overall, Snyder did manage to make his point about Bruce and his overconfidence, even if it wasn't all totally believable or clear. Here, you can use "find/replace" for Joker and the Court, as Snyder is clearly calling into question whether Bruce understands Joker as well as he thinks that he does. We see it throughout the issue, but most particularly when Bruce is arguing with Dick et al. over whether Joker had infiltrated the Batcave years ago. Dick et al. seem to believe that it's plausible that Joker did get into the Cave, given the card that he somehow got in the water, and, as such, that he has been aware of their identities for quite some time. Bruce, however, adamantly denies it. Although he provides some pretty compelling reasons why Joker wouldn't have been able to do so, his argument mainly falls on the lines that Bruce understands the game that Joker is playing. He stresses to them that Joker just wants them to think he was in the Cave to drive a wedge between all of them, provoking exactly this fight. Joker has succeeded in getting them to doubt Bruce and the tension of this arc is clearly going to be whether or not Bruce is right in his assertion that Joker doesn't actually know.
2) But, before we get to the question of their identities, I want to address something that has been bothering me about this arc so far, namely, the infallibility of Joker. The argument over the card seems to imply that Joker stuck that card there specifically to raise this fight years later. After all, why would Joker mention it to Dick et. al last issue if he didn't know exactly the fight that it would produce? He wanted them to question whether he had been in the Batcave or not. Now, he might have originally done it just to get Bruce to question that, so he's now simply using that prank, if you will, for another purpose years later. But, still, his confidence that mentioning the card would provoke exactly the fight that it does raises the possibility that Joker has been planning this event across his entire relationship with Batman, an assertion that really stretches my ability to suspend my disbelief. How would Joker know that Bruce would one day be surrounded by Dick, Barbara, Jason, Tim, and Damian? But, before I dismiss that scenario too easily, DC hasn't exactly not done its homework on this front. After all, we were led to believe in "Red Hood and the Outlaws" #0 that Joker pulled the strings to turn Jason into Robin. What if Snyder is saying that he created the entire Bat-family, if only to strip it from Batman later? Even if Snyder isn't going that far, it seems difficult to believe the level of coordination that we're already being asked to buy. The card simply seems to push us even farther down that road.
3) Returning to the issue of the identities of the Bat-family, it seems somewhat odd to me that Snyder is having this entire battle with Joker turn on the issue of whether he knows their identities or not. I've never been particularly interested in that question in "Batman," because it was always a moot point. Even if Joker knew, he was never going to undermine Batman by using it against him, because it wasn't going to be fun. I mean, of every superhero, Batman has always had one of the flimsiest secret identities as a result of the presence of Robin at his side. After all, if Tim Drake guessed his identity from the transition of Dick to Jason and then the death of Jason, it stands to reason that Joker, with his obsession with Batman, could do so as well. (Of course, in the DCnU, Tim didn't guess his identity, as we learned in "Teen Titans" #0. I guess the #0s are one for two here, either way.) It just seems like he would have to know. In fact, I'm going to be more surprised in this arc if it's revealed that Joker doesn't know then I would be if he did know. In fact, if it's revealed that he doesn't know, I'm just not sure I'll buy it.
4) Speaking of obsession, I'm not sure where to go with this love theme. "Catwoman" #14 also played with this idea, with Selena feeling like Joker came after her as a rival for Bats' affection. I'm going to reserve judgment to see where we go with it, but I'm worried. Let's just say that I'm worried.
Winter Solider #13 (HERE BE SPOILERS!)
This issue is mostly interesting as an excellent example of Brubaker's ear for dialogue and his amazing use of it as a way to make you feel like you're a fly on the wall. Bucky, Cap, Daredevil, Hawkeye, Wolverine: we're talking about some of the more iconic Marvel characters. But, Brubaker throws them all together here in a way that feels fresh, showing how their fraying nerves are bringing out their worst traits as they get increasingly desperate in their search for the Black Widow. In terms of the action, however, we don't really see the plot advance all that much, since I'm pretty sure that no one expected Bucky to kill Daredevil. So, I'm now just left eagerly awaiting the denouement in Brubaker's final issue. Nervous, I am.
Scarlet Spider #12 (HERE BE SPOILERS!)
*** (three of five stars)
Favorite Quote: "Uh. No Belgians. Don't let any Belgians say here. Ever." -- Kaine, asking for a reward that makes sense if you read the issue
Summary
A group of well-dressed men listen to another well-dressed man deliver a presentation on the Connell diamonds, worth an estimated $17 million. He informs the group that they are currently being held in a vault at the Four Seasons Hotel in Houston for the next 48 hours and announces that they will be stealing them, something that he predicts will be a walk in the park given the low security at the hotel. Meanwhile, Kaine attempts to leave his room, but the door is blocked by Aracely. He swears at her and she demands that he put money in the swear job. Donald and Wally try to calm down Kaine, who declares that he tried the hero thing, but he's returning to Plan A and heading for Mexico. Kaine sways, announcing that he's not giving Aracely money and that he's going to need another drink. Donald suggests that he's had enough, since he can barely stand, and Kaine tells him that he'd be drinking, too, if he had seen what he saw. He begins to talk about the events of "Minimum Carnage" and alludes to his past ("You don't know what I've seen, you don't know who I am, you don't know anything") but loses consciousness. Donald asks how much he drank and Wally says that he only had three beers, commenting that he's a surprising light-weight for a big guy. Wally tells Donald that he has to talk to Kaine to convince him that the events of "Minimum Carnage" are not his fault. When Donald asks how Wally would feel if 23 people had died under his watch, Aracely interjects, saying that Wally feels angry, jealous, and sad. The conversation is interrupted by a representative from the Four Seasons, who tells them that Kaine has to leave his room since the Ambassador from Belgium had made a reservation at the Presidential Suite months earlier.
Meanwhile, downstairs, Annabelle appears to be arguing on the phone with a jealous ex-boyfriend (or current boyfriend) when a group of Santas burst into the hotel with guns. Upstairs, Wally worries that losing the hotel room is going to make it easier for Kaine to leave while Aracely plays with Kaine's mask, which she reveals can heal itself. Wally wonders how it could do that and realizes how little they know about Kaine. Aracely disagrees, saying that they know everything about him. The phone rings and Aracely informs them (without answering it) that it's Annabelle and she's scared; Donald answers it and confirms what Aracely sensed. Downstairs, one of the Santas grabs the manager, telling him to lead them to the vault. When he hesitates, the Santa grabs Annabelle, telling him that he'll shoot her if he doesn't bring them to the vault. Upstairs, Aracely tries to wake up Kaine by jumping on him while Donald and Wally argue: Donald wants to call the police, but Wally says that he needs to do something. Wally heads downstairs and Aracely bolts after him. Downstairs, the manager pretends that he can't open the vault and Annabelle yells at him, reminding him that she has a gun to her face and that the hotel is insured. She then turns to one of the Santas and tells him that she knows that the guest in the Presidential Suite is a guy with a lot of cash.
Upstairs, Donald is preparing Kaine coffee, trying to get him sober so he can help Annabelle. Kaine mutters to him that Annabelle needs to run, because he's a monster who's good only for killing. Downstairs, Wally observes the Santas but gets surprised by Aracely, who he tells to stay put. He attacks one Santa and then dives behind the front desk as the others open fire. One of the Santas radios the Santa with Annabelle, telling him that they've got a problem, but Annabelle's Santa tells him to handle it. Aracely then appears in front of the Santa and uses her power to do something to him, seemingly making him afraid, as Wally observes. In the Presidential Suite, Kaine tells Donald that his failure at the Galleria and NASA shows that he's not a hero, that he's only going for killing. Donald calls him an idiot, reminding him that he saved Aracely's life and his life and, according to Wally, the lives of everyone in Houston. He guesses that he also did good in Galveston and asks him how many more people would've been dead at the Galeria had Kaine not been there. He tells him that the person committing these acts isn't a monster to him, that Kaine's past is his past. He's a superhero now and, if he's rough around the edges, he's perfect for Houston. At that moment, the Santa bursts through the door with Annabelle, demanding a duffel bag full of cash. Donald asks if Kaine is sober yet and an angry Kaine goes to town on the Santa. He then emerges from the elevator on the ground floor, dressed as the Scarlet Spider, and takes out the rest of the Santas. The manager thanks Kaine profusely and asks what he can do for him. Aracely suggests that he tell him that no Belgians are ever allowed to stay at the hotel.
Later, Kaine and the others are gathered on the roof, looking over Houston. He narrates that he's lived a life of violence, but he now may have found a home full of people who care for him and about whom he cares. He decides, as a Christmas present to himself, that he's going to let himself believe that it can work and that he can be happy. Meanwhile, a letter for Kaine Parker arrives, but the Four Seasons representative from earlier tells the postman that no one under that name is registered at the hotel.
The Review
All right, I wasn't exactly a fan of the "Minimum Carnage" event. However, Yost does some pretty great stuff here dealing with the aftermath of it. Kaine is shaken from witnessing Carnage kill 23 people at the end of "Minimum Carnage" and we see the effect of that shock throughout the issue. With so many authors having their characters hardly take a moment to reflect on the horrors that they see every day, it was definitely a nice touch for Yost to use it as a vehicle for Kaine wondering whether he has it in him to be a hero.
The Really Good (aka a Rambling Meditation on the Supporting Characters)
I've mentioned previously how strong Kaine's supporting cast is, but Yost just keeps making them better and better. For example, I loved Aracely in this issue. Yost is playing up the mystery behind her powers, but he's also using them to provide greater insight into the characters, such as Aracely informing us that Wally is jealous of Kaine. Given that Wally does his best to protect people without powers, you could see where he'd be jealous over someone who had the ability to help all the more. Moreover, Aracely''s also proving to be excellent comic relief. In fact, Yost seems to be using her as a much more fun version of Valeria Richards. Just in this issue, she has light and dark moments, from insisting that Kaine put money in the swear jar to using her powers (whatever they may be) to take down one of the robbers.
However, it's Donald that expresses the thing that links all of them: their belief in Kaine. Yost makes sure that you see it in every interaction that the characters have with Kaine; for example, Annabelle directs the robber to the Presidential Suite, because she has faith that Kaine will save her. They all really do believe in him. But, here, that belief is put to the test by Kaine confessing to Donald that he's a murderer. It's not just a random confession, either. Yost has done a great job of having Kaine repress that confession, providing it only to the priest in issue #6. But, Yost makes it clear that the events of "Minimum Carnage" have shaken Kaine to his core, making him call into question his ability to be a hero not only because he failed to save 23 people but also because he himself had once been capable of that level of brutality. It's the moment of truth and, as good friends do, Donald intervenes right then. I'm not sure Wally would be so quick to look past it, but Donald reminds Kaine that he's now the hero in whom they all believe, who has saved countless lives (including his and Aracely's). Reilly Brown might not be Ryan Stegman or Kham Phoi, but he shines when he shows the emotion on Kaine's face as Donald tells him that he's not a monster. It's a beautiful moment and it clearly marks the moment that Kaine starts believing it and, in fact, the beginning of future of this series. I have no doubt that Kaine will continue to fight against his past, but Yost shows us here that it's not going to define him as much as it has, because he believes now that he can move past it.
In other words, most authors reduce supporting characters to damsels in distress and people who might eventually abandon the hero for any ethical lapses. Yost does exactly the opposite here and it makes this series all the better for it.
The Unknown
1) I thought it was odd that the robbers were a bunch of guys in expensive suits. I felt like I was supposed to recognize them as some sort of cabal, but I didn't. Normally, I don't associate bank robbers as the expensive-suit crowd, so I wonder if Yost is laying the groundwork for them to return in a future story.
2) I wonder why the letter to Kaine from Julia Carpenter had been opened...
The Bad
One of the weirder parts of this series is that I feel like Yost and the artists occasionally forget that Kaine is a clone of Peter Parker. Wally describes Kaine as a "big guy" and the various artists on this title have drawn him as such. But, at the end of the day, he's still genetically Peter. If he's bulkier, he's still got to be able to swing on those webs and float through the air, something that would be difficult to do if he were built like Captain America.
Favorite Quote: "Uh. No Belgians. Don't let any Belgians say here. Ever." -- Kaine, asking for a reward that makes sense if you read the issue
Summary
A group of well-dressed men listen to another well-dressed man deliver a presentation on the Connell diamonds, worth an estimated $17 million. He informs the group that they are currently being held in a vault at the Four Seasons Hotel in Houston for the next 48 hours and announces that they will be stealing them, something that he predicts will be a walk in the park given the low security at the hotel. Meanwhile, Kaine attempts to leave his room, but the door is blocked by Aracely. He swears at her and she demands that he put money in the swear job. Donald and Wally try to calm down Kaine, who declares that he tried the hero thing, but he's returning to Plan A and heading for Mexico. Kaine sways, announcing that he's not giving Aracely money and that he's going to need another drink. Donald suggests that he's had enough, since he can barely stand, and Kaine tells him that he'd be drinking, too, if he had seen what he saw. He begins to talk about the events of "Minimum Carnage" and alludes to his past ("You don't know what I've seen, you don't know who I am, you don't know anything") but loses consciousness. Donald asks how much he drank and Wally says that he only had three beers, commenting that he's a surprising light-weight for a big guy. Wally tells Donald that he has to talk to Kaine to convince him that the events of "Minimum Carnage" are not his fault. When Donald asks how Wally would feel if 23 people had died under his watch, Aracely interjects, saying that Wally feels angry, jealous, and sad. The conversation is interrupted by a representative from the Four Seasons, who tells them that Kaine has to leave his room since the Ambassador from Belgium had made a reservation at the Presidential Suite months earlier.
Meanwhile, downstairs, Annabelle appears to be arguing on the phone with a jealous ex-boyfriend (or current boyfriend) when a group of Santas burst into the hotel with guns. Upstairs, Wally worries that losing the hotel room is going to make it easier for Kaine to leave while Aracely plays with Kaine's mask, which she reveals can heal itself. Wally wonders how it could do that and realizes how little they know about Kaine. Aracely disagrees, saying that they know everything about him. The phone rings and Aracely informs them (without answering it) that it's Annabelle and she's scared; Donald answers it and confirms what Aracely sensed. Downstairs, one of the Santas grabs the manager, telling him to lead them to the vault. When he hesitates, the Santa grabs Annabelle, telling him that he'll shoot her if he doesn't bring them to the vault. Upstairs, Aracely tries to wake up Kaine by jumping on him while Donald and Wally argue: Donald wants to call the police, but Wally says that he needs to do something. Wally heads downstairs and Aracely bolts after him. Downstairs, the manager pretends that he can't open the vault and Annabelle yells at him, reminding him that she has a gun to her face and that the hotel is insured. She then turns to one of the Santas and tells him that she knows that the guest in the Presidential Suite is a guy with a lot of cash.
Upstairs, Donald is preparing Kaine coffee, trying to get him sober so he can help Annabelle. Kaine mutters to him that Annabelle needs to run, because he's a monster who's good only for killing. Downstairs, Wally observes the Santas but gets surprised by Aracely, who he tells to stay put. He attacks one Santa and then dives behind the front desk as the others open fire. One of the Santas radios the Santa with Annabelle, telling him that they've got a problem, but Annabelle's Santa tells him to handle it. Aracely then appears in front of the Santa and uses her power to do something to him, seemingly making him afraid, as Wally observes. In the Presidential Suite, Kaine tells Donald that his failure at the Galleria and NASA shows that he's not a hero, that he's only going for killing. Donald calls him an idiot, reminding him that he saved Aracely's life and his life and, according to Wally, the lives of everyone in Houston. He guesses that he also did good in Galveston and asks him how many more people would've been dead at the Galeria had Kaine not been there. He tells him that the person committing these acts isn't a monster to him, that Kaine's past is his past. He's a superhero now and, if he's rough around the edges, he's perfect for Houston. At that moment, the Santa bursts through the door with Annabelle, demanding a duffel bag full of cash. Donald asks if Kaine is sober yet and an angry Kaine goes to town on the Santa. He then emerges from the elevator on the ground floor, dressed as the Scarlet Spider, and takes out the rest of the Santas. The manager thanks Kaine profusely and asks what he can do for him. Aracely suggests that he tell him that no Belgians are ever allowed to stay at the hotel.
Later, Kaine and the others are gathered on the roof, looking over Houston. He narrates that he's lived a life of violence, but he now may have found a home full of people who care for him and about whom he cares. He decides, as a Christmas present to himself, that he's going to let himself believe that it can work and that he can be happy. Meanwhile, a letter for Kaine Parker arrives, but the Four Seasons representative from earlier tells the postman that no one under that name is registered at the hotel.
The Review
All right, I wasn't exactly a fan of the "Minimum Carnage" event. However, Yost does some pretty great stuff here dealing with the aftermath of it. Kaine is shaken from witnessing Carnage kill 23 people at the end of "Minimum Carnage" and we see the effect of that shock throughout the issue. With so many authors having their characters hardly take a moment to reflect on the horrors that they see every day, it was definitely a nice touch for Yost to use it as a vehicle for Kaine wondering whether he has it in him to be a hero.
The Really Good (aka a Rambling Meditation on the Supporting Characters)
I've mentioned previously how strong Kaine's supporting cast is, but Yost just keeps making them better and better. For example, I loved Aracely in this issue. Yost is playing up the mystery behind her powers, but he's also using them to provide greater insight into the characters, such as Aracely informing us that Wally is jealous of Kaine. Given that Wally does his best to protect people without powers, you could see where he'd be jealous over someone who had the ability to help all the more. Moreover, Aracely''s also proving to be excellent comic relief. In fact, Yost seems to be using her as a much more fun version of Valeria Richards. Just in this issue, she has light and dark moments, from insisting that Kaine put money in the swear jar to using her powers (whatever they may be) to take down one of the robbers.
However, it's Donald that expresses the thing that links all of them: their belief in Kaine. Yost makes sure that you see it in every interaction that the characters have with Kaine; for example, Annabelle directs the robber to the Presidential Suite, because she has faith that Kaine will save her. They all really do believe in him. But, here, that belief is put to the test by Kaine confessing to Donald that he's a murderer. It's not just a random confession, either. Yost has done a great job of having Kaine repress that confession, providing it only to the priest in issue #6. But, Yost makes it clear that the events of "Minimum Carnage" have shaken Kaine to his core, making him call into question his ability to be a hero not only because he failed to save 23 people but also because he himself had once been capable of that level of brutality. It's the moment of truth and, as good friends do, Donald intervenes right then. I'm not sure Wally would be so quick to look past it, but Donald reminds Kaine that he's now the hero in whom they all believe, who has saved countless lives (including his and Aracely's). Reilly Brown might not be Ryan Stegman or Kham Phoi, but he shines when he shows the emotion on Kaine's face as Donald tells him that he's not a monster. It's a beautiful moment and it clearly marks the moment that Kaine starts believing it and, in fact, the beginning of future of this series. I have no doubt that Kaine will continue to fight against his past, but Yost shows us here that it's not going to define him as much as it has, because he believes now that he can move past it.
In other words, most authors reduce supporting characters to damsels in distress and people who might eventually abandon the hero for any ethical lapses. Yost does exactly the opposite here and it makes this series all the better for it.
The Unknown
1) I thought it was odd that the robbers were a bunch of guys in expensive suits. I felt like I was supposed to recognize them as some sort of cabal, but I didn't. Normally, I don't associate bank robbers as the expensive-suit crowd, so I wonder if Yost is laying the groundwork for them to return in a future story.
2) I wonder why the letter to Kaine from Julia Carpenter had been opened...
The Bad
One of the weirder parts of this series is that I feel like Yost and the artists occasionally forget that Kaine is a clone of Peter Parker. Wally describes Kaine as a "big guy" and the various artists on this title have drawn him as such. But, at the end of the day, he's still genetically Peter. If he's bulkier, he's still got to be able to swing on those webs and float through the air, something that would be difficult to do if he were built like Captain America.
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