Tuesday, 22 July 2014

Guardians of the Galaxy Vol. 1: Cosmic Avengers (Marvel NOW!) Review

Guardians of the Galaxy Volume 1: Cosmic Avengers

Starlord wants you!... To take the
racoon seriously.
Writer: Brian Michael Bendis

Artists: Steve McNiven, Sara Pichelli

Collects:  Guardians of the Galaxy #1-3 and #0.1 AND Guardians of the Galaxy: Tomorrows Avengers #1

Background Information:

So the Guardians of the Galaxy movie opens in August, so what better time to explain who these guys are?

Peter Quill, AKA Starlord, is the son of an Earth woman and a man from the planet Spartax. Upon learning of his heritage, he took to space and now hangs out with Gamora (Daughter of Thanos), Drax the Destroyer (psycho killing-you-guy), Groot (y’know those tree things from Lord of the Rings? Kinda like that, but only says “I am Groot”).

Oh, yeah, and a talking racoon.


Would you eat an otherwise perfect chocolate cake if there was a cockroach cooked into it?
That’s kinda the feeling I get when reading Cosmic Avengers; it’s good, but there’s that one ingredient that takes it from being great to being vomit-inducing. It’s a pity, because there’s plenty to like here, but that one major failing stops me from being excited about further volumes.

So Quill’s rotten father is letting him know that the Earth is officially off-limits to interstellar visitors. That’s good, right?

For the record- we've never heard of the Power Rangers
Not so much. See, apparently saying “don’t go there” just encourages interstellar bad guys to... well... go there. Enter the Guardians (joined for the moment by Iron Man) who are trying to stop interstellar bad guys. Of course, there’s a lot more that happens in the book apart from that, but that’s as spoiler free as I can do for the moment.

Okay, it seems pretty clear at the moment that Bendis is effectively trying to reboot-without-rebooting Guardians of the Galaxy (something that seems to be a habit for All-New-All-Now-New-Now-All Marvel NOW!), but it thankfully somewhat works. The first issue treats us to an origin story for Starlord, as well as a quick introduction to Iron Man being on the team. I say somewhat, because there is still plenty we don’t know about the rest of the guardians.

But that’s pretty forgivable because the following three issues don’t suffer from the same lack of information. There’s plenty of great moments for each character to shine, Drax lives up to his title as destroyer very well; showing a brutality unrivalled by any of the other Guardians. Gamora has plenty of great sword-swinging, gun-shooting moments, and thankfully, there’s no sign of sexual exploitation on the character (although I’m suspicious that there may be in the movie). I won’t spoil Groot’s best moment here because, although you can see it coming a mile away, it’s so satisfying when you see yourself proven right.

Peter Quill comes off very much as a Han Solo-style character. He’s dismissive of authority figures, is fairly laid back, and can trash talk pretty much at will. It’s cliché, sure, but damn if it isn’t highly enjoyable to read.

Alright, fine, I’ll talk about Rocket Racoon. Honestly, I think Marvel are overestimating the character’s
Has gun. Will kill guys.
appeal, here. He’s fun to read about for sure- enjoying the killing aspect of the Guardians’ missions more than anyone else in the team (and remember, one of those other team members has “the Destroyer” in his name; let that sink in). The problem is, I just couldn’t help but think of a smaller, furrier Deadpool whenever I saw him. If you really want to see that kind of character, you’re probably better off reading Deadpool. He works well in the team though, so this isn’t a big enough problem to warrant a low score.
Artwork is done pretty seamlessly. Despite having two different artists, there’s no immediate difference in the artwork between the book’s main four issues.

Up until this point, I’ve really had no problem with the book in terms of story or art, but that’s not where Cosmic Avengers fails. No, this isn’t a bad comic, but it is a bad collection of issues.

Now, the way Marvel collects their trade paperback has always been a problem with me. On average, you can expect a Marvel trade to have five issues. That’s not bad in and of itself, but then they charge around $20 for it. Now, I can buy a DC trade for around $18 and get minimum six issues, and that feels more like my money’s worth. You can argue quality of stories all you want, but the fact remains that with Marvel, you’re paying more for less story.

But Cosmic Avengers ups the anti in this regard. See, the actual story content is only covered in three issues. Otherwise, it’s bookended by the good-but-not-significant #0.1 and the boring-and-insignificant Guardians of the Galaxy: Tomorrow’s Avengers #1. Now, I know that the others stories may not match up, but reading so little actual story content (especially in the Tomorrow’s Avengers, which only acknowledges the story, rather than adding to it) left me with a sour taste in my mouth.

So here’s hoping the second volume is better collected but right now Guardians of the Galaxy get’s a three out of five issues that further the story.


+ Characters are great.

+ Good for new readers

- The Tomorrow’s Avengers issue is horrible.

Alternate Option: Nova Vol. 1

Not one I’ve read, but I’ve heard great things about it. And it may just be the better choice if you want something in Marvel’s cosmic realm.

Monday, 7 July 2014

Carnage: Minimum Carnage (Marvel) Review

Carnage: Minimum Carnage

Venom and Scarlet Spider really
come off as uncles to Carnage in this
Writers: Cullen Bunn and Chris Yost

Artists: Lan Medina, Khoi Pham and Declan Shalvey

Collects: Minimum Carnage: Alpha and Omega, Venom #26-27 and Scarlet Spider #10-12

Background Information

Oh, Carnage! For a character that’s really pretty basic, you sure do get a lot of love. From video games, to cartoon appearances to even more comics devoted to your name than Venom, you have popped up everywhere except the silver screen.

Maybe it’s because you’re so basic- the basic offspring of the Venom symbiote attached to serial killer Cletus Casady, your character doesn’t get more complicated than “I kill guys”. In most cases, that would be a bad thing, but here, it actually makes you pretty versatile. So it’s understandable that in an era that features two new Spider-Man-related characters, you’d pop your head up again.


Okay, I got this volume because it contained the only three issues of Scarlet Spider that I haven’t read yet (expect a retrospective review, where I’ll take on the whole series). But I’m glad I did, since it’s one of the most enjoyable Marvel books I’ve ever read and easily up there with the best of them.

So Carnage has escaped from prison again and escaped into a little kingdom of elves and fairies.

Hey, look! It's... it's... umm...
Sorry, I meant to say: a micro universe of very tiny aliens.

And fairies.

It falls to Scarlet Spider and Venom to track him down and stop him before ol’ Carnage kills everything around him.

Scarlet Spider’s tale of redemption really started with Spider Island more than his own book. It was a fairly silly affair that wasn’t afraid to point out how silly it actually was. In that light, it’s fun to see that Minimum Carnage is also a story that delights in its own silliness. A miniature universe? Silly as anything! So let’s not pretend that this is The Dark Knight-level serious and just have fun creating an out-there story.

That’s the philosophy of Minimum Carnage and it pays off in spades. Admittedly, Yost’s Scarlet Spider chapters pull this off a little better than the Venom ones, which tend to be more melodramatic, but the story is still insanely fun and offers plenty of ridiculous, even laughable moments.

It’s peppered by these great moments where both Venom and Scarlet Spider really let their personalities shine. Venom’s introspective, spends a lot of time trying to emulate Spider-Man while keeping his own demons in check. Scarlet Spider’s got his demons too, but he’s not trying to keep them in check; he’s unleashing them on everything that gets in his way. Both characters clearly aren’t fond of each other, and their opposite views on pretty much everything make Venom and Scarlet Spider a great Good Cop/Bad Cop duo.

Carnage reveals his true origin as a
glob of tinned spaghetti.
The big mistake made by the writers here is that they force that great duo apart so quickly, and it’s here that Minimum Carnage loses its momentum. It’s a short window of time, but the difference becomes felt very quickly.

Aside from that, Carnage just isn’t terribly compelling. I can see the appeal; he kills lots of people, so he’s obviously a bad guy. As a character, though, he’s incredibly shallow. I don’t see the appeal in making multiple mini-series for him, and I don’t know why it wouldn’t have been just as fine to use any other bloodthirsty villain in this series.

The art, of course, is spasmodic. That’s to be expected from a book that shoe-horns two different ongoings and two one-shots together. Thankfully, it’s all very good. The art shift tends to represent more of a tonal shift than anything, which is nicely reflected in the story as well.

Look, Minimum Carnage is really silly, but don’t let that turn you away. It gets a three and a half elves and fairies.

*** ½

+ Plenty of fun.

+ Venom and Scarlet Spider make a pretty sweet team-up.

- It’s not as fun when they’re not together.

- Carnage just isn’t terribly compelling.

Alternate Option: Spider-Man: Spider Island

If you really want to see more of Kaine and Venom together, this is a pretty good way to do it.

Monday, 30 June 2014

X-Men Legacy Vol 3: Revenants (Marvel Now!) Review

X-Men Legacy Vol. 3: Revenants (Marvel NOW!)

For the record, they're called matroshka dolls,
Writer: Simon Spurrier

Artists: Tan Eng Haut, Paul Davidson and Khoi Pham

Collects: X-Men Legacy #13-18

Background Information:

So if you’ve never heard of Legion, he’s the son of Charles Xavier (better known as Professor X). Known normally as David Haller, he’s a schizophrenic with the personalities and powers of multiple high-powered mutants. Whenever he takes on that personality, he takes on that power.

Lately, though, he’s been able to control those powers. He’s taken it upon himself to take on mutophobia. He’s done it in some fairly… unorthodox ways.


The emptiest pub in the UK.
One of the great things about the X-Men franchise is that no matter what you are; if you feel somehow X-Men Legacy has really been at the forefront of this for the franchise; more about battling prejudice than other X-books, which have been more about battling the prejudiced. Revenants carries on this tradition in fine form, a little less delayed in its gratification than the previous volume, and more action-packed than the first, makes volume three one of the most enjoyable in the series.
discriminated against, you can find some version of you in X-Men. It’s one of those things that connects to every person that has been put down in some way.

So, Haller’s got a couple of plans in this volume; wipe out mutophobic England, and fight Cyclops when he’s done making his mother feel guilty.

Yep, that’s Legion for you.

Spurrier has led us on quite a bit in this series, not really letting us know what is going on until the very end of each story arc. Nothing changes here. At the start of both major story arcs, Haller appears to be close to being the new Magneto, but we never know quite what he’s thinking until the end. Spurrier’s ability to mislead the reader is what has made X-Men Legacy so enjoyable. I mean, sure, Haller’s still a stereotypical caricature of a Scotsman and the story still feels like it’s going nowhere, but it’s an enjoyable nowhere and an enjoyable caricature.  

Says the dude throwing the punch...
Spurrier injects a ton of character in his work. Each mutant- be they significant to the story, or not- has their own personality that becomes evident in their dialogue. Ruth’s “sorries” and “excuse mes” appear everywhere. English expressions are everywhere in the first story arc and Haller’s swear words are frequent and replaced with ambiguous “#@%!s”. It’s rare to see dialogue that is this much fun, even if Haller does come off as sorta an overdone Billy Conelly.

My major problem with this volume is the way it insists that Haller and Professor Xavier’s relationship is somehow a thing. Throughout three volumes Spurrier has brought us back to Haller’s daddy issues and it seems to have gotten nowhere. At the end of this volume, it finally seems to get somewhere, but it still feels like it’s too little too late. I’ll be honest; I. don’t. care. what happens between Haller and Xavier and this volume hasn’t changed my mind.

Art duties are shared between Tan Eng Haut, Paul Davidson and Khoi Pham. I’ve seen a fair bit of Pham’s art in Scarlet Spider, and honestly, there’s something I love about it. At the very least, it’s better than Haut’s art, which I loved earlier in the series, but grew to absolutely loathe in this volume. Haut use so much shading that Haller looks like a leper. I think he’s going for dark and brooding, but he just ends up with lifeless.
Revenants shows Haller’s mindset at its best, but poor art in the first half and an insistence on making us care about Haller’s father problems holds it back. It gets a three out of five lepers.


+ Great use of surprise.

+ Great Dialogue.

- Forcing Haller’s relationship with Xavier on us.

- Haut’s art is rubbish.

Alternate Option: All-New X-Men: Yesterday’s X-Men

The best X-book of Marvel NOW! You’re doing yourself a disservice if you don’t read it.

Monday, 23 June 2014

Batman Vol. 3: Death of the Family (DC) review

Batman Vol. 3: Death of The Family (The New 52)

Joker takes the worst selfies.
Writer: Scott Snyder

Artists: Greg Capullo and Jonathan Glapion

Background Information:

Do I need to explain the Joker?

No? Good.


This is actually the second Death of the Family tie-in that I’ve read. My first was Nightwing, which I wasn’t particularly impressed with. Batman’s foray into the crossover gave me a greater understanding of what was going on in Nightwing, but its best achievement seemed to be making me enjoy Dick Greyson’s story more.

Don’t get me wrong, it’s still a stellar story; but as with all stories that have been hyped to the nth degree, there’s been a fair bit of hyperbole that has infected a lot of the writing regarding the volume.

What? Oh yeah! The story. Sorry, this is a review, after all!

That awkward moment when...
The Joker is back in town and he has his eyes firmly set on destroying the Bat-family of Nightwing, Red
Hood, Red Robin, Robin and Batgirl. Joker’s of the mindset that Batman should only work alone, that he’s at his prime when he doesn’t have all of these darn kids to worry about!

The Joker here is many things, and it’s really the strong part of Snyder’s work. For starters, there’s a bit of Batman fanboy in the Joker. Go online and you’ll see plenty of comments about how the Robins/Batgirl are the weakest parts of the Bat franchise. How Batman’s always better as a loner. How having a partner just cheapens the effect of caped crusader. Snyder captures that attitude perfectly in the Joker’s character, and thankfully proves it wrong by the end, showing a Batman who becomes greater than ever for his ability to care for his Batkids.

Then there’s the idea of Joker being Batman’s court jester, with other Batman villains represent the “bat-kings” other court members. It’s here that Snyder really gets to the heart of things; why are these incredibly dangerous and terrifying villains after a man who, lacking any actual superpower, shouldn’t be seen as a threat at all? It’s not a question that we get to see answered, unfortunately, but at least Snyder doesn’t pretend that the question doesn’t exist.

Finally, and perhaps most interestingly, there’s the idea that Joker has a kind of “love” for Batman. This has been criticized by the Comic Book Journal as being reflective, and encouraging of, a perceived “gay scare”. The argument seems to be that because the Joker can be interpreted as being homo-erotic, the book seems to have some unwitting homophobic agenda behind it.

Because, apparently, the LGBT community must only be victims- THAT’S the sort of uninspired typecasting a forward-thinking man can get behind.

Sarcasm aside, I really don’t think that there’s much to these claims (shocking, I know). See, if we are to perceive homosexuality as normal and as present in all factors in our society, we must assume that it extends beyond misunderstood heroes. We must be ready for the idea that there are gay villains as well, and, supposing that we can really read Joker as a character with any sexuality at all (he even implies that he never found Harley Quinn attractive, which is by far one of the most poignant scenes in the volume), that a homosexual villain would express his sexuality as rampantly as heterosexual ones.

But I don’t think there is much of a sexual love in Jokers obsession with the Bat. To me, Snyder’s Joker takes the role of 50s television housewife, whose function seems to be less romantic, more domestic and motherly. Sure, he uses romantic terms like “darling” and even calls one action by Batman a sign of “love” (I won’t spoil it, though), but that seems to be a weapon more than anything- a tool to disgust Batman not because Joker’s another man, but because Joker’s a murderous psychopath. In this way, Joker’s romantic references are no different to say, Poison Ivy’s sexualisation of multiple dangerous scenarios. All up, though, it makes for a read that it truly terrifying.

Like I said in the beginning, though, the real value of this volume is that it makes me appreciate Nightwing’s crossover into it all that much more. There’s some substance to it now; substance that wasn’t there when I read the volume on its own, and that was greatly appreciated. The problem though is that I found myself liking Batman less here. He doesn’t develop at all in this volume and considering how the character grew in the first two volumes, that’s pretty disappointing.

That even awkwarder moment when your butler is
creepier than your nemesis.
Batman fans should be warned that the best scene in this volume, the emotional core of it, really doesn’t feature Batman at all, but rather focusses on Alfred and the rest of the family. I won’t give it away, because it’s a rather odd inspiring moment in a book that is otherwise chilling and terrifying, but will say that it places Alfred firmly as the bat-family’s “mother” figure. A scene where the whole family is picking itself up around the butler is evocative of a “family hug”. A great moment, but one that seems wired as the true hero of the book doesn’t seem to be its titular character.

That said, though, the family truly is dead by the end of this volume, or at least seems to be. I wouldn’t be surprised if we didn’t see many Batman family crossovers for a while. This is something that actually gets me excited for the few volumes of the bat-books.

Batman Vol. 3: Death of the Family gets a four out of five bouts of uninspired typecasting.


+ Joker is characterized brilliantly

+ Makes me appreciate Nightwing’s crossover more.

- I can’t say this book does much for Batman.

Alternate Option: The Joker: Death of the Family

All you really need to read are the Batman titles, but this one will definitely help you appreciate the impact of the story more.

Monday, 16 June 2014

Justice League Vol. 3: Throne of Atlantis (DC) Review

Justice League Vol. 3: Throne of Atlantis (The New 52)

Aquaman in the center of a JL picture...
Hell''s frozen over.
Writers: Geoff Johns and Jeff Lemire

Artists: Ivan Reis, Paul Pelletier and Tony S. Daniel

Collects: Justice League 13-17 and Aquaman 13-17

Background Information:

The biggest success story of the New 52 has to be Geoff Johns’ Aquaman. The reboot was just what the King of Atlantis needed to kick that “useless hero” stigma he’d been suffering from for years. Thanks to the rebooted character (and, Aquaman’s character in Injustice didn’t hurt him either), Aquaman has been kicked back into the A-list. It’s the reason the guy now has two books devoted to him.

Justice League, though, hasn’t had the same positive reception. The first volume was fine, but not well received due to its popcorn-munching simplicity. The second volume wasn’t worse, but not necessarily better. That’s a concern for a book that’s meant to be the central title for the New 52.


Three characters nobody cares aboout in this volume...
 and Aquaman
Not all crossovers work. More often than not, it’s a desperate cry for help from a series that’s failing, and their cause isn’t always helped by connecting it to a more popular title. Thankfully, connecting a lukewarm-running title like Justice League to an out-of-nowhere success like Aquaman has paid off in spades for DC, finally giving us a Justice League story that feels like a title that’s been going on for a year, instead of being perpetually in its first two months.

So, after a tough battle with the Cheetah, a Justice League-sized crisis has hit earth. Atlantis has invaded the surface world, and the surface world is ill-prepared for it. But who’s the mastermind behind the attack, and what have Atlantis or the surface world to gain from the battle?

This volume does a lot of things that fixes the problems from the last volume. For starters, the Superman/Wonder Woman relationship finally comes across as something natural. In the last volume, the relationship just seemed to be a matter of Wonder Woman finding the alpha male (and no, sorry, it isn’t Batman). Now there’s some meat to those previously shallow bones. Superman’s a nice guy now, and he actually looks like he deserves the affections of the Amazon princess. Likewise, Wonder Woman clearly has something to learn from Superman; creating a very Pretty Woman-style vibe to the relationship.
Then there’s the focus of the volume, a Aquaman-centred story this early in the New 52 is a stroke of genius, and Aquaman is at his best here, loaded with that well-developed character that Johns has been establishing in previous Aquaman stories. He’s been driving the story and it’s been great to see someone other than the trinity or Green Lantern heading a League story.

But by far the best thing about this volume is the fact that Johns has somehow sneaked quite a lot of character development into the last two volumes without anyone really noticing it. Batman and Aquaman are quarreling over leadership. Wonder Woman and Superman are dating. Green Lantern has left the league through a show of responsibility. Cyborg wonders if he is human anymore, but has Flash to be the nice uncle to him. It’s a status quo that you really never see happening, and it’s a great surprise when you find out that these characters has actually come a fair ways.

My only real problem with Throne of Atlantis is the fact that in a Justice League collection, the best titles are the Aquaman ones. It’s weird when you consider that the central New 52 title is kinda the forgotten kid brother of the title that everyone probably thought would fizzle out when announced.

Y'know, I still have no idea what the trident does....
The art duties are taken over by Ivan Reis, whose work is so close to Jim Lee's, that there doesn’t feel like there’s a lack of consistency in the series. What makes it better for this volume is that Reis just knows how to capture Aquaman perfectly. Considering that Aquaman is the central character here, that’s a very good thing. And it’s an excellent thing that Tony S. Daniel is sticking to art here; putting it lightly, it’s definitely putting his best foot forward (because the best example of Daniel’s writing is still like calling someone the friendliest Nazi).

Throne of Atlantis finally gave the Justice League the story they deserve. It gets a four and a half out of five friendly Nazis.

**** ½

+ Superman’s/Wonder Woman’s relationship finally makes sense

+ Aquaman at the centre of the story.

+ Where did this character development come from?

- Justice League issues play second fiddle to Aquaman ones.

Alternate Option: Aquaman: Throne of Atlantis

It’s the same story, just has a couple more Aquaman issues.

Monday, 9 June 2014

The Flash Vol. 2: Rogues Revolution (The New 52) Review

The Flash Vol. 2: Rogues Revolution (The New 52)

The attack of Hairgirl, Glowstick-Man and
Fire Turtle!
Writers: Francis Manapul and Brian Buccelato

Artists: Francis Manapul and Marcus To

Collects: The Flash #9-12, #0 and The Flash Annual #1

Background Information:

Okay, so last volume left us on a bit of a cliffhanger, but the short version is that after being trapped in the mystical energy known as the speed force, the Flash has found himself in a city populated by talking gorillas (yep!) led by one King Grodd. That’s bad for him, in case you weren’t aware. Gorilla Grodd is one of the more famous of Flash’s enemies so this is kinda significant. The last volume also saw Flash battling Captain Cold, another Flash iconic and leader of this title’s titular Rogues. While before the New 52, Cold used a freeze ray to ice anything around him, he now freezes things by willing it frozen. That’s important children, make sure you take note.


In its first volume, Move Forward, the New 52’s The Flash established itself as one of the most beautiful books of the reboot. Having writers and artists work together so closely- even having an artist as writer has resulted in a truly art-driven series that has really added flavor to the run. Rogues Revolution thankfully delivers a story that is just as good, but the drop in art quality hurts the book, and it honestly makes me worried for what’s going to happen to the series in future.

Flash tries unsuccessfully to blend in with the gorillas.
So Flash escapes Gorilla Grodd to return to a Central City that well and truly hates Flash. See, the Central City residents blame pretty much every bad thing that’s happened on the Flash, and even former friends like Dr. Elias are rallying protests against the Scarlet Speedster. What’s more, Captain Cold’s former crew, a group called the Rogues are back and they’re after Cold’s blood.

Okay, the best thing about this volume is really how much Flash’s supporting cast develops here. Dr. Elias is not the friend to Flash that he once thought he was, and actually seems to just do bad things just to see what happens. Flash’s former girlfriend Patty Spivot hate the Flash because she thinks him responsible for the death of Flash’s civilian identity, Barry Allen. Even Captain Cold, through flashbacks, has some great character progression, pushing the Rogues to their breaking points. I love it when a comic has a vibrant supporting cast and Manapul and Buccelato absolutely nail it.

The Flash himself develops well as a character too; but that’s mostly as a result of the development in everyone else. Here he drops the identity as Barry Allen- cop job and all- to work in Keystone City and keep an eye on the criminal types. Sure, the same thing happens in volume 2 of Superman-Action Comics, but here they don’t make such a big deal of it. Not to put down Grant Morrison’s work, but I really prefer it The Flash’s way, the story felt more like it was going somewhere and Flash’s new identity seemed more to be a part of a greater whole rather than the story in and of itself.

The main story arc of Rogues Revolution takes up issues 9-12 and Annual #1 and does an excellent job at explaining some elements . Like the last volume, it ends on a cliffhanger that is equal parts interesting and annoying. It centers on Gorilla Grodd again and sets up for some enormous things to happen in the next volume. But that’s probably my biggest problem with this volume. We’ve seen Manapul and Buccelato use Grodd for the next volume before, only to see it come to nothing. It’s a trick I’m only likely to fall for so many times. It had better pay off next volume.

So... much... activity... on... one...
The volume ends with what is possibly one of the best 0 issues I’ve read so far. This issue alone adds more like armour. At best, it’s overdesigned spandex, and that’s fine for someone who makes his career out of running fast.
layers to the Flash than anything before it in the New 52 had done- and that’s saying something. My only real problem with this issue is the fact that Barry Allen says that he needs to use armour instead of tights for his costume. I’m not an anti-armour, New 52-hater (I genuinely love, for example, Superman’s new look- collar and all), but the Flash’s suit looks nothing

The art in volume 1 was perfect throughout. Manapul’s washed-out colours and spectacular page design won the day easily. In Rogues Revolution, part of the art duties are taken by Marcus To and while he does an admirable job, To’s work is nothing compared to Manapul’s beautiful work.

Be that as it may, Rogues Revolution is an fun, though slightly flawed, continuation of the story begun in Move Forward. It gets a three and a half out of five anti-armour, New 52-haters.

*** 1/2

+ Solid character development

+ Manapul’s art is gorgeous as always.

+ 0 issue is near perfect.

- Marcus To just isn’t as good an artist

- Another Gorilla Grodd cliffhanger? C’MON!!!

Alternate Option: The Flash: Move Forward

Not really a book you can regret reading, start from the beginning of the New 52 run.

Monday, 2 June 2014

Can There Be Another Batman

If new super-heroes look like this, there's gonna be trouble

So, if you looked at Jesse Schedeen’s article on IGN from two days, you may find this article somewhat familiar. If you haven’t Schedeen basically asked if another character in pop culture could come around that could ever become as popular as Batman. Schedeen’s response was that if there was- it wouldn’t be a superhero character.

It's a tough question, and my first inclination is to simply answer "No." I'm not sure I can picture a new, original superhero coming along and usurping Batman's throne. Part of Batman's appeal is that he's so primal and fundamentally simple. A boy experiences terrible tragedy and devotes himself to ensuring that no other person will have to suffer like he did. That basic concept has proven very malleable over the years…. Batman was one of the first superheroes, and in many ways he's been a prototype for every costumed vigilante to follow.”

There’s a certain point to which I agree with this; new superheroes haven’t fared well, historically. Take, for example, this week’s review of Scarlet Spider. New heroes take a while to get respect. Even the newer superheroes that appear to work have a rough time at the start. Take Invincible, for example. In the book’s early stages, it was almost cancelled; people hated Invincible that much.

But I think there will be another Batman, or at least there can be. But it won’t just happen, there are conditions and methods that need to take place, just like when Batman was created.

Where we first learnt that nobody will
shoot you if you look cool enough.
The Batman Method

See, Batman first appeared in Detective Comics 27. That’s common knowledge, but the process for creating him wasn’t.

See, Batman was created when the company now known as DC comics realized that there was something to this superhero thing. They commission Bob Kane to design a new character for their future roster. Kane originally designed a character who looked somewhat superman-y with the addition of red tights, a domino mask and batlike wings. Bill Finger saw the design and wasn’t totally impressed. Between Kane and Finger, Batman was redesigned to become the exact opposite to Superman.

What did that mean? Superman had powers, Batman had none, but used his wits. Superman dressed in bright, primary colours, Batman was dressed only in black and grey. Key to Superman’s character was the fact that he stood for the ultimate in human character and compassion. Batman, on the other would watch a man die and call it “a fitting end for his kind”.

It would stand to reason, then, that the next great superhero would want to be completely different to every other hero that had come before- not just in terms of power, but in terms of basic character.

Real Diversity

Noble intentions, great characters, but still missing the point.
But let’s face it, there’s a lot more superheroes now than there ever has been. And there is not much more that can be done to be differently apart from add diversity to the man or woman behind the mask. Now, I’m gonna make this clear- I DON’T mean what the comics industry currently means when they say “diversity”. See, for the comics industry at the moment, diversity usually means black-skinned. I’m not saying that there shouldn’t be more non-Caucasian heroes around (there certainly should), but simply picking up a different paint when the colourer is at work isn’t the same as getting truly diverse characters in the lineup.
So how would we get diversity that actually means something? One idea could be to get the hero out of America. Sure, an African-American may mean something in the US, but to the rest of the world, an American is an American. An American Muslim is still an American. A homosexual American is still an American.

How does superheroing look in China? What is it like in Russia? Do Australia and New Zealand have superheroes? American culture naturally permeates all American superheroes, so keeping them in America is naturally going to produce the same old stories with the same old characters but for skin colour and sexuality.
Batman has always been less like Superman,
more like this guy

Drawing from other sources

When Batman was finally created, Kane and Finger weren’t drawing from Superman anymore. They were drawing more from characters like Dick Tracey, Sherlock Holmes, Zorro and the Scarlet Pimpernel. None of these are comic superheroes, in case you didn’t notice that very important point.
In the same way, a new Batman can’t draw on other superheroes. What if they were to draw on other popular pop culture characters? Indiana Jones? The Phantom of the Opera? Nathan Drake, even? By doing so, the new Batman would truly stand out from the rest.

Clearly, a new Batman is possible, but some truly creative things will need to happen. Me? I’m going to sit back and enjoy the next big thing as it comes.

So what do you think? Where is the next big thing coming from?