Milestone Forever #2

I’m rather torn about what to write about part two of Milestone Forever. I’ve been a huge fan of the Milestone characters for a long time. This is basically a wrap up of some of the major characters, and how the Milestone world came to be integrated into the DCU. It was good, well written, and yet somehow not quite what I was looking for.

The issue started with Dharma, once more hoping for guidance about a big decision looming in his future. We see a few scenes from Hardware’s childhood, and there’s a scene about a bird he used to have that occasionally got loose and kept bumping into a window, because he couldn’t understand the barrier he couldn’t see. Then we skip to Hardware, evading some people trying to steal his tech. He easily bests them, saves their lives in the process and reflects that he’s changed, at one point he would have let them fall to their deaths. Curtis gets back to Alva Industries, which he inherited on Alva’s death.

Curtis is tired of having so much of his life defined by his past with Alva, and takes some very radical actions. He retires from being Hardware, sells off the company after radically shrinking it, and proposes to his longtime girlfriend. A minor character called Technique agrees to take over Hardware’s responsibilities in defending the people of Dakota.

Back to Dharma, who sees this unfold and decides Hardware can’t help him with what lies ahead. He takes his sister, the warrior Iron Butterfly, into the other dimensional space that makes up the Shadow-slide his group uses to teleport. Here, we see Rift, the big threat from Worlds Collide, the DC/Milestone crossover back in the 90s. Dharma intends to use Rift’s power to try and save his world, unless his actions destroy the world instead. This is the one thing his precognition can’t foresee for him- what will happen here. Dharma next looks in on Static, and says “Although he has reached but a fraction of his power, he is the most powerful being on Earth.” High praise indeed, considering that world has Icon, Kwai, and Dharma himself.

Static is roughly ten or so years in the future, attending a high school reunion. He meets up with various friends from his series, and keeps hearing people are “sorry about Frieda,” which he wont discuss. He reflects back on his high school memories, which anyone would, but also on his former career as Static, which he seems to have given up on long ago. Just as he’s wondering if anyone even remembers Static, Hotstreak, his former foe now going by Firewheel, breaks in, demanding to know which of the attendees is Static. Virgil’s friend Richie runs interference as Virgil slips out and finds one of his old costumes, still hidden after all these years.

Here we see classic Virgil, remarking on how well he hid his costume, then allowing that Flash and his ring trick is even better. Virgil has always been a sci fi and comic geek, although that seems to have been forgotten in his appearances in Teen Titans. Static chases Firewheel off, and later he and his friends discuss the attack and when he’ll show back up. There’s an interesting line about if Static has to go back (he’s a medical resident now) that Icon will fill in, as “she” owes a favor. I presume Rocket has taken over for Icon, although he’s effectively immortal, or I thought so at any rate.

Virgil and friend reminisce, one of them having bought the old comic shop they used to hang out at. They get drawn into gaming, and Virgil gets home very very late, to spar verbally with his sister, now married. We also learn their dad passed on, and there’s another odd reference to Frieda.

Virgil and friends attend the homecoming game, and sure enough, Firewheel shows up. Virgil tries to quick change by yelling “Shazam!” and triggering his powers, burning off part of his clothes, but not effectively revealing the costume, causing his friends to burst out laughing. Firewheel continues his racist tirade, and Static easily beats him into the ground. We then learn that Virgil has been telling this story to his kids, another ten years in the future. Virgil is now married to Frieda, and at least one of the kids has inherited Virgil’s’ powers.

Dharma and Iron Butterfly conclude that if Static wasn’t going to stop him, no one was, so he will go ahead and do it. Dharma then kills Iron Butterfly, and goes about his task, telling her he will bring her back if he can. He enters a void of power, formed by he and Rift’s strengths meeting. He finally senses an opportunity when Darksied’s death (during Final Crisis I suppose) creates a power vacuum, and Dharma manages to blend the strands of Milestone’s world into that of the main DCU, and says no one will ever know the difference, that everyone will always think the two worlds were always one. The futures we saw for the Blood Syndicate, Hardware, and Static are undone, and we revert to the modern day DCU.

McDuffie got what he wanted, a chance to tell what would have happened to his creations if they had been able to go on in their worlds. In guess I’m a bit disappointed that so many of them just… quit, eventually. Yes, heroes are only human, more or less, and deserve their shot at happiness, but it’s a bit sad that so many of them just lost their taste for… adventure? Heroism? It was well written, a nice what could have been, but mildly depressing, at least to me.

Justice League: The Rise And Fall Special

Following on the heels of the somewhat controversial Cry For Justice series, DC has this week produced “Justice League: Rise and Fall Special.” This picks up just after issue seven, the conclusion of that miniseries, and flashes back to it as well. We start in the midst of action, with Green Arrow beating the Electrocutioner savagely. Electrocutioner was the one who planted Prometheus’ device in Star City, killing thousands, among them Ollie’s grandaughgter, and Roy’s daughter, Lian. This segment ends with Ollie’s narration box saying “He helped cause the deaths of thousands. That’s why I’m going to kill him. Just like I did Prometheus.” We flashback further to when Ollie in fact did kill the villain. Ollie reviews parts of the events, especially Lian’s death and Roy’s maiming, as he fires the fatal shot, and makes a telling observation about himself. “But Prometheus never grapsed that vital piece of information about me. He never knew that at my core, I wasn’t a hero. I was a hunter.” There’s a scene of Ollie and several friends at Roy’s bedside, the others worried about Roy and Ollie both. Ollie gives the number of dead at nearly one hundred thousand, and says civil unrest and looting are big concerns now. The others promise Ollie they will let him know when they find Prometheus, to which he replies “I’m sure you will.”

In the ruins of Star City, we see GA and Black Canary, with Dinah now narrating how worried she is about him. “… he doesn’t seem interested in searching for those to help. He’s only after those to hurt,” she observes. There is a scene of them fighting some looters, and the moment the battle ends, he simply walks out.

Central and Keystone, home of the Flashes, were also threatened. We see Flash (Wally) hunting down Razer, a thug in a power suit I at least have never heard of. The suit is pretty well designed to resist speedsters, but Wally lures him to a particular alley where Batman waits and knocks him cold. There is then another of those scenes so common in DC lately that I really wish they’d stop- two heroes, in costume, who have secret ID’s, talk about people they know, using real names, including Wally and Barry’s. And they wonder how their secrets keep getting out? The two share concern over Roy, and wonder if they’ve just been lucky not ending up like him.

Elsewhere, GL Hal and Flash Barry (one of them really needs a different name if both are going to be active) travel to Opal City to interrogate the Shade about Prometheus. Barry a little uncharacteristically attacks Shade, who triggers his own powers, not to attack, but to bring them to Prometheus’ house in Limbo. Shade remarks he was going to tidy things up, but thought they’d like to see the crime scene untouched… mostly. Hal and Barry are horrified to see Prometheus, dead on the floor, with one of Ollie’s arrows through his head. Oddly, his helmet is gone, so it must have been cut away aruond the shaft.

Back in Star City, we see GA, still on the hunt, remarking that he has informants still who will help him, and that he has a lead on Electrocutioner. Ollie tries to convince Dinah to leave him to this fight, and she says she won’t do it. We then see the fight progress up to the point where the story started, and Dinah makes Ollie miss the kill shot on Electrocutioner. The villain escapes while the heroes argue, and Dinah realizes that not only did Ollie want to kill him, but already has killed Prometheus. He doesn’t respond to her accusation, which is when Hal and Barry arrive, with a green casket carrying the body. There is more argument, with Barry taking the moral high ground and Ollie pointing out Barry killed the Reverse Flash. Ollie tells Hal to open the coffin of ring energy, and show Dinah. After this happens, Ollie grabs Prometheus’ ghost key and uses it to escape, stating he’s not done. Flash is just barely too slow to stop him, and says they must find him before he kills again.

The special ends with a newspaper article about Star City, its losses, and various citizen’s reactions to Green Arrow, both those that love him and those that hate him. It’s a nice piece, written well, giving some good perspectives. My only complaint about it at all echoes some of my problems with Cry For Justice- in the crowds of heroes gathered for the memorial service, we see the original Judomaster, who died during Infinite Crisis. Yes, there’s another one active, but she is a different race and gender, so again, this is straight up artist error, not a slight coloration mistake. Also, Congorilla is drawn as masively huge, much bigger than I’ve ever seen him before.

What I liked and what I didn’t:

The writing is good. J T Krull is proving himself to be one of the better writers at DC these days. He really seems to understand the characters in his charge. The comment about Ollie being more hunter than hero is a great one. It would explain not only the times he’s killed in the past, but to an extent his womanizing. I’m not being sexist, there are people (of both genders) who look on new sex partners as conquests. I’ve heard people use the phrase “Oh, I bagged” him/her as appropriate, which is also, of course, a hunting term. The other heroes reacting to Ollie’s actions was handled well. We have several bits of mystery to deal with as well. Who else is Ollie going after, that he’s “not done?” Electrocutioner, almost certainly. But who else? Who has Prometheus’ helmet? The best suspects are Ollie himself, and Shade. I don’t think Shade did it, however. While he’s been a thief, his “beloved Opal” as he calls it was almost destroyed by Prometheus, and I don’t think he’d want another such running around, so unless he destroyed it, I think the man is in the clear. Ollie may have done it, but why, and where is it? Ollie’s not a scientist, I’m not sure he could adapt it to work for him.

Aside from the above mentioned artist errors, there’s very little else bad here. There’s a bit of a plot hole between CFJ and this issue about IQ. That villain was rescued to idiocy, drooling on himself in Prom’s lair when Ollie killed Prom. He’s not there now… so where is he? Did Ollie save him and take him to an institution somewhere? If so, it’s a bit odd that he’s killing Prom and trying for Electrocutioner, but helping the man who did most of the work making the devices function. Or maybe Ollie is holding him somewhere to restore him and make him help with the helm? I also think it’s a bit odd that whoever took the helmet left the arrow, needing to cut if off around it. I’m also not sure who this “Razer” twit is, where he came from, why Wally needed help to beat him, and Barry being a bit quick to attack Shade, but those are all minor quibbles.

Over all, I think it was very well done. I don’t like a lot of what happened in Cry For Justice, but I think Mr. Krul is doing a fine job with the pieces he’s been left.

This week Marvel are having a spectacular Sentinel special and have provided you lucky fans with a free look at ALL 5 issues of the 2006 mini-series Sentinel. Just click the links below to enjoy.
SENTINEL #1 (2006)
SENTINEL #2 (2006)
SENTINEL #3 (2006)
SENTINEL #4 (2006)
SENTINEL #5 (2006)

Secret Six #19

When at it’s best, what could anyone say about the Secret Six other than it’s one heck of a great comic?

Ok, so there’s tons to say, but what a great issue! The 3-issue Blackest Night tie-in was good, real good, but there was a certain freshness about this issue that left me so pumped up that after reading it I had to flip back to page 1 and start all over again. How a dysfunctional team of whack-outs and “B” or “C” level villains has turned into one of my favorite reads of the month is a testament to Gail Simone’s craft. The crazy black ops mission, the humor, the awkward feelings the characters have for each other, the one-liners, the cliffhanger (man what a cliffhanger!), all come together this month in one glorious issue.

Were back to the Six being paid mercenary’s as they’re on a mission to find and rescue a kid from a blood-and-sacrifice inspired cult; Black Alice is under cover joining the cult as the crew waits for the signal to attack. As you can image though the plan starts to fall apart almost immediately. The awesomeness begins as quickly as seeing Deadshot and Catman in all black costumes, the hilarity (and slight awkwardness) ensues soon after Ragdoll speaks, and the action kicks off just moments later. As much of a bigger Bane fan as I’m becoming I’m finding his inability to lead this group as much as he would like to very interesting. From our first introduction to him in Batman: Knightfall he’s always been a bit of a leader, but it seems like the Six responded better to Scandal. Perhaps it’s that she’s just as gun-ho as everyone else, whereas Bane makes himself out to be a bit of a tool at times. Surprisingly enough though it’s Ragdool who steals the opening act. From his interesting commentary on butterflies to his surprise attack on the cult as they get close to sacrificing Black Alice. He’s always been an underrated hardcore guy but the amount of passion that was seemingly awoke in him with the near death of Black Alice was unexpected. And even more unexpected was the crush that Black Alice seems to have on him now. I was tempted to roll my eyes a little but isn’t that just like a teenage girl? To start falling for the guy who just saved her life? And even more like a teenage girl is the note she passes to him later on. Just another example of how much fun this book is.

It was an interesting twist to get Chesire back into the story and even more interesting to see her short interaction weave in and out of the Six’s as they travel to San Diego to get paid for their latest gig (as a side note, how cool does Catman look in a trench coat?). As always she puts up a great fight and as always it’s fun to watch. But the real icing to this cake was the cliffhanger at the end. I once read that “every great comic book ends with a great cliffhanger.” And although I thought that to be a little cliche, in this case, it turns out to be quite true. Catman is at his best when his emotions are in control but he’s got a big task ahead of him if he’s really going to try and take out the other five. My guess, he turns on the wrinkly old man wearing shorts.

It’s worth noting that Jim Calafiore is doing a heck of a job with the art (along with colorist Jason Wright). I miss Nicola Scott, but he’s doing a superb job of capturing the same kind of emotion and humor that Scott did so well. It’s hardest for me to adapt to a new artist when their interpretations of a character vary so vastly from the previous artist and Calafiore is doing an EXCELLENT job of preserving the Secret Six “feel” we had before. It’s only my love for Nicola’s style that I even notice her absence, but Calafiore is welcome on this book anytime he wants.

It’s hard for me to say this without going to my box and looking back to some of the first couple of issues but this is one of my favorites in a long time. That’s not to say that anything recent hasn’t been good, but like I said before, it just a freshness to it. Were back to the team hating and loving each other, we’ve got another awkward romance and a great nail bitter ending. If your not reading this title I’m begging you, go get this. And if you read it, read it again. It’s that good.

Amazing Spider-Man #624

This issue picks up where the prior issue left off — Spider-Man trying to save J. Jonah Jameson’s life (again) from death by the hands, or claws, of the new Vulture. As well, it is the latest issue in The Gauntlet, which is less of a storyline and more of a branding to collect the issues.

In the last two pages, the writers really drill in exactly what The Gauntlet is all about for Spider-Man, and what it means to his story and growing mythos. Allow me to quote from the issue, from the point right after [Spoiler] J. Jonah Jameson very publicly fires Peter as his cameraman:

I’ve lost my career… my window to action… and the only real economic opportunity I ever had. All because I did a stupid thing for all the right reasons… and I can’t clear myself without revealing who I am under this mask.

For the first time, the public is more eager to string up Peter Parker than Spider-Man. [...] What do I do now? How did I lose this badly? How much worse can my life get?

And that really is the essence of The Gauntlet — Peter is being put through the ringer time after time the last few issues, and there seems to be no end in sight.

Despite the seriousness of the storyline, Mark Waid and Tom Peyer have still managed to remind us that even at his worst, Peter Parker does have a sense of humor, showcased in his fight this issue with the Vulture. You can really identify with the character lately, and that’s definitely a big factor in how much one can enjoy something. Even Jameson’s human side is shown, and when he fires Peter, you know that it’s for the right reason, that it’s what he feels he has to do.

Paul Azaceta, Javier Rodriguez, and Andres Mossa take care of the art and colors in this issue, and what some panels lack in chiseled details, they make up for in depth and impact of the image. The scenery and backgrounds look great, and the fight between The Vulture and Spider-Man couldn’t look more appropriate for the tone of it all. I could probably think of some artists that I’d rather see drawing at least the characters, but this team seems solid enough.

Overall, an entertaining issue. Definitely one I’d suggest picking up if you like Spider-Man, and either this issue or the last would make a good starting point for anyone getting into The Gauntlet late.

Red Robin #10

Part 2 of Collision continues in Red Robin issue 10. Chris Yost does try  to make the issue a stand alone issue for readers who don’t follow the Batgirl title, but honestly you really do need to pick up Batgirl issue 8 to follow what is happening in the story. The only difference in the Red Robin title is that you’re reading Tim’s perspective of things and his thoughts of how different Stephanie has become since she’s taken over the Batgirl mantel. He’s very amazed as how much she has changed, and he’s starting to accept her as the new Batgirl. For example, he was surprise that Stephanie easily kicked Pru’s ass like it was nothing.

The one thing I liked about the Collision storyline is Tim Drake is finally coming out of his shell and becoming the old Tim  again. Stephanie learns what Tim has been up to just like Tim learns what she’s been up to in Batgirl issue 8. Vicki Vale makes an appearance as well and is still seeking to ask Tim Drake questions. It’s revealed she’s been asking everyone in Tim’s life, and it’s getting harder for Alfred to get rid of her because he’s running out of excuses for Tim. Thomas (Bruce) Elliot makes an appearance in the title because Ra’s Al Ghul wants his help. Ra’s believes Hush can caused more damage in Tim’s life, because he’s still pretending to be Bruce Wayne. Part 2 of Collision ends with more disaster than good in Tim’s life, when the Council of Spiders group returns to kill him and Stephanie Brown.  My only complaint is the issue is a fast read, and Ill have to wait until next month for the conclusion of the story.

Marcus To’s art continues to be gorgeous and colorful. The same with artist Ray McCarthy’s art in the issue. Even though Red Robin issue 10 was kind of fast paced it still is a solid read, and I still  liked how Chris Yost, and Bryant Q. Miller are writing a very well done story. The Collision storyline  is demonstrating how much Tim Drake and Stephanie Brown have changed since the real Bruce Wayne has been out of the picture. The Collision storyline is something that fans who’ve stopped reading the Red Robin title should look into because it appears the old Tim Drake from his Robin days is coming back.  I’m  looking forward for the conclusion of Collision next month.

Batman and Robin #10

Batman and Robin issue 10 and future Batman and Robin issues are a must pick up. If readers plan to pick up ” The Return of Bruce Wayne,” mini series, then readers are gonna have to follow the Batman and Robin title to get a better understanding of how Bruce Wayne returns to his present time.   Batman vs Robin part one provides many surprising clues and an idea of how Grant Morrison’s ” The Return of Bruce Wayne,” mini series will tie into his Batman and Robin title.

In the beginning of the issue we see  Batman and Oberon Sexton sharing their information on the Domino Killer, and his connection to some wealthy people who were murdered or have disappeared around the world. If you have read Batman RIP then you will know who those missing and murdered people are. Readers will know for a fact Sexton isn’t sharing everything with Batman. (SPOILERS) Alfred calls Dick and Damien to return to Wayne Manor, because Alfred has discovered a clue that Bruce might have sent messages from the past inside Wayne Manor. Alfred explains that Wayne Manor has been here for over 200 years and the Batcave  has been here since the Stone Age.  Alfred then explains that he put up the Wayne  portraits in order from different eras in time that have lived in Wayne Manor, because it looks like they’re telling a story, and each portrait has a clue in it.  Those scenes or panels alone in the issue clearly hint that Morrison’s “The Return of Bruce Wayne,” mini series will connect to his Batman and Robin title somehow at some point later this year. Batman and Robin search all over Wayne Manor for clues, messages, or anything out of place, while Alfred does research on Wayne Manor and the Wayne family in the Batmobile. There’s a clue to Dr Hurt’s possible true identity in the issue. Oberon Sexton is revealed to have a deal in place to kill Batman, but fails to do so because he chose not to. In my opinion, I think it might be Bruce Wayne all along because he’s not only a detective, and he’s hinted to have  extraordinary instinct. Even Dick brings up that Oberon Sexton seems very familiar in the beginning of the issue. But then again it could be a red herring set by Grant Morrison.

The best thing I liked about the issue is, once again, Damien. Dick and Damien’s discussion about what their future holds once Bruce has return is interesting. Damien is shown as having attachment to the Robin mantel and is worried about giving it up, if and when Bruce returns at some point. (SPOILERS) The issue does show flashbacks of Damien refusing to listen or being manipulates by anything Talia Al Ghul tells him. Their scene shows that Damien is trying hard to be a good guy and not a villain in Batman’s world, and he does look up to Grayson and admits that he’s doing a good job as Batman. Like in previous issues, Damien is developing into a very good character since the ” Batman and Son” storyline. Towards the end of the issue, something happens to Damien most likely caused by Talia wherein he almost kills Dick while he’s busy searching for clues in Wayne Manor. Damien is shocked to learn that his mother did something to him, and he quickly runs away from Grayson and Wayne Manor before he kills someone.  The issue ends with Dick discovering a demonic Batcave beneath Wayne Manor, and Alfred discovering something centered in the Wayne Cemetery outside. I’m not going to say what Alfred discovers but it’s something important that leads into the next issue. Issue ten leaves readers in a cliffhanger with Damien running in the cemetery and is quickly grabbed by Oberon Sexton who is hiding around the Cemetery and tells Damien he’s here to help.

Andy Clarke’s art is colorful and beautiful like other previous artist other than Philip Tan. I didn’t see any of Andy Clarke’s art in Batman Confidential but it is an upgrade from what I have seen in Detective Comics when Paul Dini was the writer for the title a few years ago. This single issue may be the best issue Grant Morrison has written yet in his Batman run. This issue will surprise many comic book readers and get some readers hyped up for Grant Morrison’s “The Return of Bruce Wayne”  storyline which comes out next month.   The Return of Bruce Wayne begins in Batman and Robin issue 10. Go pick up the issue;  its’ worth the $2.99 price tag.

Widening Gyre #5

Before cracking this issue open I said to myself, “Remember, this isn’t your typical Batman story. Keep an open mind.” And you know what, I kinda liked it. Kinda.

I’m still not totally comfortable with the universe Kevin Smith is creating here, and I wasn’t a fan of the last issue, but I have to compliment his ability to create something that feels…different. Since he’s not writing Batman proper why not mix it up? Why not create something that intentionally doesn’t fit into Batman proper and stands out? It’s not my favorite Batman and isn’t what I would do, but I appreciate the difference in direction and although it’s not my favorite book to read, this issue was enough to keep me wanting to read.

I’m also starting to love Smith’s take on Tim Drake more than anything else. Perhaps it should come as no surprise that he can write a good teenager but seeing Tim act a little more relaxed made him feel tangible. I doubt Bruce would ever sip on a medium fountain drink while at the Bat-computer or eat a sub sandwich on the roof as the sun comes up but that’s EXACTLY the kind of thing I think a teenager would do. And to heckle Bruce on the phone about Catwomen, it actually felt like a good father-son relationship.I hope Kevin Smith does more Tim Drake in the future.

At this point though I’ve almost stopped caring at all about Silver St. Cloud and her relationship with Bruce. For 5 issues now they’ve done nothing but flirt, tickle, and sleep with each other. She’s not infused into the story and really only serves to distract Bruce from Batman. Perhaps that’s the point though. Perhaps there is something being built here and she is serving a purpose we can’t see yet. Even so though, that doesn’t make her any more exciting. Heck, I’d rather go back to Crazy Quilt from last issue, Mr. Freeze, or Toy Man. At least her appearance was short lived. And I’m starting to feel the same towards Baphomet. What started out as a creepy mystery has turned out to be a newbie crime fighter who guess what, lost his brother to “masked crime,” which motivates him to do what he does. I’m sorry but even as he stood their balling in Batman’s arms I still couldn’t bring myself to care. Maybe I’m just as cold as Victor Fries but in all my years of comic book reading it seems like 80% of the characters are motivated by loosing someone, and given how different Baphomet is already I expected something a little more climactic. I actually peeked to the end of this story before starting to read and I saw Batman hiding in the tree as Baphomet walked into his house, I thought to myself, “Oh man, were going to find out something crazy about this guy.” We didn’t.

Kicking off the issue with a bad guy somehow terrorizing Gotham is becoming a staple for this title and out of all of them so far I might have enjoyed this one the most (well, that Toy Man robot was pretty cool). This is the Mr. Freeze I’ve always thought made the most sense. If an old man really was so “cold” why would he just freeze people or objects? No, he’d kill them. And not only did he kill him but take a close look at that opening scene, those people didn’t go quickly. Walter Flannagan’s look for him is right on too. Nothing really to the suit but I love how big that bubble is around his head and how “aged” he looked. Mr. Freeze is supposed to be an old scientist who cracked (not a buff bodybuilder). And when have you seen Mr. Freeze sporting a torch?

Despite the story not really going anywhere this issue was fun. I enjoyed Tim Drake, it was nice to get a familiar villain in Mr. Freeze open it up, we finally got some Joker action, and Walter Flannagan stepped it up at times (the Joker scene in particular). I cautioned readers to buy at your own risk last issue and I still would, this isn’t your average Batman book and it’s distance from what I used to only gives me so much comfort, but this month’s was definitely worth a read.

And that cover. The best yet for this title.

Newsarama is reporting that Christopher Nolan and David S. Goyer, the creative team behind Batman Begins and The Dark Knight, are working on a new Superman movie.  For real this time.

For weeks now, we’ve been hearing rumors to this effect.  Both these claims have been debunked, but it appears this might have been a case of information leaking before the studio was willing to comment.

But according to the LA Times,  it sounds like this might actually be happening.

Let’s hope this is all true, so we can finally get a Superman movie off the ground.

From the moment I saw this cover I was drawn to it.

A lot of elements can help make a great piece of art; color, effects, negative space, or contrast just to name a few, but what made this stick out the most for me was the perspective and line. JP Leo is no newbie to turning line after line into amazing detail but to take that idea and turn it into an interesting angle that incorporates the title/name of the series, well, it’s like adding a layer of chocolate icing to an already thick chocolate cake.

Think back to some of the most iconic comic book covers, or heck, look at some issues you’ve bought recently; most likely they were drawn with a straight on perspective (or “camera angle”). This isn’t a bad thing, it gives the potential buyer a more straight forward and honest peak into what’s going to happen, or perhaps their is already enough going on that an interesting angle would just confuse someone even more, but once in awhile I  have to tip my hat to something done a little differently. There’s nothing “hardcore” or “bad ass” about this, it’s just a cool looking and interesting cover.

On a side note, I came across a cover this week that was so bad I thought it had to be mentioned, Batgirl #8. Click HERE to see it. Perhaps it’s not fair for me to ever call someone’s art “bad.” Art is after all subjective; however, this cover left me a little dumbfounded. Does the artist know that Red Robin and Batgirl are supposed to be teenagers/young adults? Are we really still doing sniper covers? And is it this sniper’s intent to just blow Batgirl’s tire? And 20% of this cover is just black space? Really DC?

Other Honorable Mentions (click title to see cover):

Fantastic Four #575 Repirt, Greek Street Vol. 1, Toy Story: The Return of Buzz Lightyear

Batgirl #8

I highly anticipated this issue because I knew that Tim and Stephanie were going to reunite and that meant we were going to see what sort of fall out there would be from that! Piggy-backing on the plot from Red Robin, Tim and Steph are thrown together in the current situation with Leslie Thompkins’ failed murder attempt.

In the opening pages, Tim and Steph banter back and forth like old flames – as they were – and it’s sort of nice to read that, because even though it’s secondary to the major story, you know it plays a role in the characters’ connections to one another. Their dialogue covers a lot of ground about their past relationship and even sort of seals the wounds. But soon enough we’re vaulted into the real plot and the action never lets off the gas.

With a slight diversion to Barbara and Detective Nick’s “date”, the story doesn’t drop the ball on our secondary characters. I’m not sure what the writers are trying to accomplish with these two. Maybe it’s because I hold out hope for Dick and Barbara or because I’m skeptical it doesn’t have more to do with plot device, re: the busy lives of people in law enforcement, etc. They both are called away on “business”, though Oracle’s of a slightly different nature. Since all cell phones and avenues of communication appear to be down, O must call in for a special kind of backup and we have a brief Supergirl cameo. Again, I wonder what will – if anything – come of this.

Tim and Stephanie have decided to play up their debutante qualifications to get at Thompkins, who is in attendance at a fundraiser for her clinic. The League’s assassins are there and Tim and Steph are left with no choice but to fight together. More of Stephanie’s great internal dialogue here and some humor; she’s so amazed by the feeling of being back fighting alongside Tim, just to be in his presence, that she accidentally blasts him in the jaw. I can’t say I didn’t find this amusing. A little comedy never hurt the overall story.

With Leslie in safe keeping and just when they’re finally trying to stutter through the words that will  patch up their rocky past and possibly vault them into a better future, the two are interrupted by Prudence, of Assassin legacy. And here’s where we’re led into the crossover with Red Robin, which I immediately read, much to my amusement. I’m not reviewing that title but both of these together got a combined A plus plus plus based on the sheer fact that it’s nice to see Tim out of his funk and back state-side, just like old times. Keep up the good work, Miller. I hope, however, that the next issue will give us back our usual artists.

All Star Superman Vol. 1 & 2

The point, as I have been told, of writing the All-Star Superman series, was to capture all that embodied Superman himself, be it the actual character we know or what he stands for, what he signifies. Not being a hardcore Superman reader, but knowing enough to pass a quiz, I picked up both volumes soon as they were released in paperback form. My local comic book shop owner told me that he actually cried at the end of volume one so that right there made me want to read it. We’re opened up to a world in which Lex Luthor has plotted the ultimate scheme: to overexpose Superman to sunlight which would then cause his cells to advance at such a rapid rate that he would eventually perish.  He has become “too” super and what made him the saviour of our world is what will kill him. Sort of ironic, right? It’s got Grant Morrison written all over it. But more on that later.

In the lab of P.R.O.J.E.C.T., Dr. Quintum, who looks like a cross between Willy Wonka and an Oompa Loompa, is testing Superman’s strength, calculating how long he may have. Also, formulating ways to clone him if possible. It is he who tried to do this many times before, only to end up with Bizarros, who were never quite right.

The next book focuses more on Superman’s humanity; the mild-mannered Clark Kent’s bumbling ways and his Daily Planet co-workers live this earth life while Superman has an incredible fortress far far away, where he takes Lois on her birthday, only to reveal to her some of his most trusted secrets. I was slightly confused here because so far as I knew in comic canon, she already knew Superman and Kent were one in the same. BUT, since this is a compilation of Superman lore – and therefore, anything goes – she is unaware of this. She is suspicious at best, thinking he is some kind of evil and trapped her there. Except what he was really doing was creating a suit and serum that would allow her his powers for one day. Herein, the reader sees that Superman is one of a kind and tiny earthlings cannot fathom what it would be like to be a god. Or THE god. The similarities between the Christian God we know and Superman are remarkable here. What human wouldn’t want to know unlimited power, just for one day? Even though I didn’t care for this take on Lois’s personality, this book of the volume was one of the more fun ones to read.

Lois takes full advantage of this gift and it is in this book we meet Atlas and Samson. The latter, a time traveler, informs Superman that before his death, he performed 12 acts of strength, 12 challenges, much in the same way other mythological creates have done. i.e. Hercules.

He must take on a deranged Jimmy Olsen and then, multiple Supermen from the future, which – in my opinion – is what confuses and annoys me about volume one: too much time travel. But the overall message in the final book of this volume is what  the comic shop guy meant; it certainly has  touching moment between father and son.

I found Volume 2 to be a far more interesting read. It’s so full of action and it throttles you towards the end, which may or may not be satisfying for you.

Superman continues on his Herculean feats of strength, battling the inhabitants of the most annoying Bizarro world, Lex himself, and some survivors of Krypton. Being “all-powerful”, it’s difficult to find a suitable nemesis for him so in this, he’s pitted against an intelligent star: something so otherworldly and HUGE that even he has difficulty.

The overall emotion in each one of the issues in this second and final volume is far more fleshed out than in the first.

What I liked most about this volume is that Superman is always trying to save someone else if he can – always a way, as he repeats – and he is ultimately selfless. There is a moment on Bizarro world, however, where he has to be selfish to get away from the giant cube planet. He leaves Zibarro, the only intelligent one amongst all the backwards weirdos, but his selfishness will save millions of others on earth, a planet he has come to love and appreciate, honor. It is in making that very tough decision we see Kal’s humanity and struggles. Not everything can be a cakewalk, even for Superman.

Ultimately, I think Morrison accomplished what I said earlier about the AllStar ideal. Readers get to experience all these well-known facets of the Superman world and see the overlying themes involved in the lore that goes back nearly 70 years. But still, there are times when the average comic reader would be lost. And that’s a sure sign of Morrison as well.

The art, though spectacular in some ways, was not my favorite style. Quitely is extremely talented and each panel is simplistic to give readers the implicit idea of the action involved. However, I feel like Superman’s head is always a little off and Lois had a very tiny mouth, shifty eyes. But all in all, the artwork did not detract from the overall story, which is still very enjoyable.

February Comic Book Sales Chart

It should come as no surprise that Blackest Night #7 was last month’s best selling book and that Siege #2 finished just below it; as much as we complain about events all you have to do it look at this chart to see why they keep happening.

I was a little surprised to see Flash: Rebirth #6, the final issue, fall so low but it felt like the delays plus the Blackest Night tie-in (which is getting better reviews) may have really hurt it’s hype. Also a little stumped at the Green Lantern: Secret Origin not performing better. More people bought Star Wars Adventures Vol. 3 than the Green Lantern paperback? Course, this could have something to do with DC pushing those hardcovers for so long and then pushing out a $14.99 book in the same month as All-Star Superman Vol. 2 for just $12.99. Gotta give Dark Horse credit though, that Star Wars book that so many people bought was only $7.95. Heck, I can’t buy a CD on iTunes for that.

[The Comic Chronicles]

It has just been announced that Smallville will be getting its 10^th (and most likely final) season in the fall. So let’s take a moment and look at what does and does NOT need to be included at this, the conclusion of the longest running and most inclusive live-action telling of Superman’s story in history.

10. No more Chloe

WHY: Now, I know what some of you are thinking. “But Chloe is the only other original cast member besides Clark.” And while that may be true, it also means she’s the only remaining tether tying Clark back to Smallville. Time was she was Clark’s “tech support,” and she did all his thinking for him.  But now that we’ve got an independent Clark, Chloe has become superfluous. She and Clark aren’t even best-friends anymore, so the emotional connection is gone. And since Oliver knows Clark’s secret, he can act as a confidant, further reducing the need for Chloe. Really, at this point, her character seems to be treading water, anyhow.  Now, I’m not saying she needs to die. I don’t know why that’s the only way to get rid of a character.  She could just move the Watchtower operation to London or Japan or something.  Maybe team up with Super-Lana to form their own “Birds of Prey.” Sure, her death could spur Clark to action, but he’s already active.  What more motivation could her death add? Just get her out of the way, and let her come back for the last episode of the series, happy and healthy.

9. Make Lois the female lead

WHY: This goes hand in hand with the previous request.  Right now, Lois is the #2 female lead, right behind Chloe.  In the final year, Lois needs to take her rightful place as a main character. They’ve done a great job of bringing Lois to the forefront in a way I never thought possible during the Lana Years, but she still feels like a supporting character to me at times. What’s more, they’ve been playing up her goofy aspect lately (which is fine, Erica Durance has a flair for comedy) but whatever happened to the brash and almost bitchy Lois from a few years ago?  Lois has been great, but in the final year, I’d like to see her toned down to a more realistic level, and maybe gain a few life-goals outside getting the Blur to call her back.  She needs to be more 3-dimensional, reflecting her whole history on the show, and she needs to be Clark’s equal in terms of depth and storytelling.

8. Give Kara’s story some closure

WHY: Okay, “Supergirl” didn’t make much sense in Season 7.  The main problem then was that Clark hadn’t even got on sure footing himself yet, so the very idea of him “training” his younger cousin was laughable, especially since she had better control of her powers than he did.  Despite that, Laura Vandervoort’s Kara was an intriguing character that brought a lot of energy and strength to the role of Supergirl.  I’m still not sure how she’d work as a regular cast member, but last time we saw her she was heading off into space to find Kandor, which, it turned out, had been on Earth the whole time.  So what’s she doing out there, now?  They need to bring her back, if only to ship her off on another mission that gets her out of Clark’s way, just so that we know she’s not left wandering around space, looking for a lost city that she’ll never find.

7. No more Super-Lana/Bring Lana back

WHY: Yes, I know that’s confusing.  From what I understand, the reason they ended Lana’s story the way they did, where she is a Superwoman complete with Kryptonite powers, was because they didn’t want to tick off Lana fans.  This way, Lana gets to be an awesome superhero all her own, but the Kryptonite in her system means Clark can never be with her, so he just “settles” for Lois.  Now, any casual fan will tell you that that simply makes no sense, in the comics or Smallville.  I don’t want to see Lana on the show anymore, but if they do bring her back for completion’s sake, I want it to be for a storyline that removes her powers and gets her back on track with the comics.  Imagine a story were Lana returns, making Lois nervous because of her relationship with Clark.  Lana loses her kryptonite-powers, and Clark… still picks Lois.  Not because she’s a consolation prize, but because he loves her for real.  The best version of Lana was in the “Legion” episode, where she was Clark’s good friend and trusted ally, but they just knew they didn’t belong together.  That’s how they should have ended it, and now they get a second chance to do it right.

6. Make Perry White a regular character

WHY: Back in Season 3, Michael McKean guest-starred as a drunk and washed-up Perry White who, after meeting Clark, decides to turn his life around.  Well, it’s been 7 years, Lois and Clark are working at the Daily Planet, and now it’s time for Perry White to take charge.  The problem with Perry in some versions is that he occupies the same space as Pa Kent, that of the father figure.  But with both Jonathan Kent and Lionel Luthor dead in the Smallville Universe, that wouldn’t be a problem.  If nothing else, he could be a new support character primarily for Lois.  Rumor has it that Perry will be returning near the end of Season 9, so let’s hope he sticks around next year.

5. Bring back “our” Jimmy Olsen

WHY: I’m sorry, Henry James Olsen was just a terrible idea.  The decision to kill off “Smallville Jimmy” and make him the real Jimmy’s brother was not only sloppy beyond compare (you can tell even the actors and writers didn’t try too hard to sell it) but it was insulting to fans of the show, who for 3 years saw this as their Jimmy.  I don’t care how they do it, time travel, clone, whatever.  Bring back Smallville’s Jimmy.  Sure, the character was pretty unlikable in his last year what with the drugs and harping on Davis Bloome, but like Clark said, Jimmy was right all along.  Plus he was a great sidekick for Lois and he could take Chloe’s place as Clark’s best friend, which is a role Jimmy Olsen deserves anyway.

4. No Season-long villain story arc

WHY: Let me ask you, what was the story arc for Season 1?  There wasn’t one, beyond establishing the show and its world.  But in the last few years, we’ve had these season-long story arcs surrounding classic Superman villains that show how they got their start.  The problem with this method is that the season inevitably becomes about that person, be it Kara, or Doomsday, or Zod, while Clark and his journey is stuck in the background, becoming a part of someone else’s story when it moves at all.  I propose that the last season’s only “arc” be about Clark finally becoming the Superman we all know and love, while bringing back famous and already-established villains like Toyman, Metallo, Parasite, and Bizarro to fill out the season.  Heck, they could even bring back Doomsday (the monster, not the man) and Brainiac if they want.  Just so long as they only take up as much time as normal villains and don’t steal any of the spotlight away from Clark.

3. No more Krypton

WHY:Everything (good and bad) comes from Krypton.  Every major villain, besides the Luthors, has had ties to Clark’s home planet.  The Meteor Freaks, the Voice of Jor-El, Brainiac, Isabel the witch’s powers, The Phantom Zoners, Doomsday, Major Zod.  Not to mention good stuff like the Fortress, the various Supergirls, and the idea of Clark’s destiny.  That’s probably what bugs me the most, the idea that being Superman fulfills some kind of Kryptonian prophecy/calculation.  Being Superman needs to be Clark’s choice, not something Jor-El twists his arm into doing.  Krypton has been done to death on Smallville, and any new villains or heroes or ideas that show up next season need to come from someplace else.

2. Bring back Lex Luthor

WHY: But NOT for the whole season.  Otherwise you run the risk of season 10 being about “The Return of Lex.”  Just bring him back for the last few episodes to really heighten the tension.  Without a doubt, Lex needs to return before the show is over and reclaim his title as King of Metropolis.  Now, this would take a little more finesse than, say, returning Jimmy.  I don’t want Lex to come back with amnesia, or as a clone, or via a spell from Zatanna, or anything else that rewrites Smallville history or makes him forget Clark’s secret.  There has got to be a cool, clever way to return Lex to glory while still honoring his history on the show.  Even if it just means that he knows Clark is Superman.  I mean, it works for Spider-Man and Norman Osborn.  And really, is there any better way to make Lex the most-dangerous villain ever?  And at the same time, this might also force Clark to break things off with Lois, in order to protect her from Lex, setting up a variation on the classic scenario where Lois hates Clark and he’s all timid around her.  Whatever the case, Lex needs to come back, but it doesn’t need to steal the show.

1. Superman

WHY: But above and beyond all things, Season 10 needs Superman!  And it needs him as soon as possible.  We’re all thrilled about the show’s early renewal, but the one thing that scares me about season 10 is that it might simply continue the current Zod/Blur storylines, or that it will introduce a whole new villain, and that the season will be all about them.  Sure, they could introduce Darkseid and the Fourth World, but wouldn’t it be better to have this last year focus on closing out the story of “Smallville” as a whole. Clark needs to fly, people need to start calling the Blur Superman, and Clark needs to wear red, blue and yellow.  And really, Clark doesn’t need to dress up as Superman for every episode.  He could save it for special occasions like fighting Zod or Doomsday in public.  But after nine years of “the Blur” running around, we deserve a Superman that flies.

That’s what season 10 needs to be about most.  That’s what the only “arc” next year needs to be, Clark as Superman.  Not Clark BECOMING Superman, we’ve seen that for 9 years, I mean Clark AS Superman.  It’s the only territory the show has left to explore.

Smallville is a great show, and it has been getting better and better over these last few years.  Season 10 still needs to close out some of the still-running storylines, and drop other stories and characters whose time came and went long ago.  But it’s all there.  They have the tools at their disposal to make season 10 the greatest Superman story ever told on film. 

Still want more?

For more lists like this visit our COMIC BOOK LIST section for ones like our Top 10 DC Comics Animals or our Smallville section.

Marvel Comics has provided CBR with advance looks at new comics on sale this Wednesday, March 10, 2010.

Click the links below to be taken to the preview of your choice.

• Breaking into Comics the Marvel Way #1
• Cable #24
• Dark X-Men #5
• Hulk: Let the Battle Begin
• Lockjaw & the Pet Avengers Unleashed #1
• Marvel Adventures Super Heroes #21
• Prelude to Deadpool Corps #2
• Punishermax #5
• S.W.O.R.D. #5
• Super Hero Squad #3
• The Mystic Hands of Dr. Strange #1
• The Twelve: Spearhead
• Ultimate Comics Spider-Man #8
• Web of Spider-Man #6
• Wolverine: Mr. X
• X-Men Forever #19
• X-Men: Pixie Strikes Back #2

Staring in July with Superman #701 and Wonder Woman #601 both titles will be start being written by J. Michael Straczynski.

It was recently reported that Gail Simone would leave Wonder Woman for Birds of Prey and we all know how quickly the War of Supermen event is going to come and go, which lead the near future of these titles a little in the dark, until now. Straczynski was already announced to be writing the Superman: Earth One original graphic novel series and with these two titles added to his chore list his influence in DC Comics for the years to come could be pretty massive. As to the creative teams he’ll be teamed up with and more details on his story plans we’ll have to wait; however, he did have this to say…

“there has always been the same question from folks in the audience: “Is there any one character who is your dream character to write for?” The answer has always been the same: Superman. When I first came over to DC, that dream was realized in part by Dan DiDio’s gracious invitation to write the first of potentially many Superman original graphic novels. Now the dream has come fully true with the opportunity to write for the mainstream title, in a story that returns Superman to his roots in a way that will have the whole country talking about him in ways that we haven’t seen in a long time.”

“Similarly, the chance to write Wonder Woman — the nearest analogue to Superman in the DCU — is massively exciting. She’s a vital, powerful character, and we hope to bring a more contemporary sensibility to her character will retaining everything that makes her unique.”

[DC's The Source]

The new Iron Man 2 trailer is out and if the first one got you excited than take some deep breathes before clicking play because we get more War Machine, Nick Fury, Black Widow, Whiplash, story, and even a to-go Iron Man suit that will make you piss your pants.

Tales of The DCAU Part One

In this series of posts, I will provide in-depth information on the variety of characters and storylines that take place in the DCAU. For the first few posts, I will provide background info on the 9 DCAU cartoon series and movies, and present the established timeline of the DCAU. In the later posts I will provide overviews of the major DCAU storylines, character profiles, and I’ll talk about the DCAU’s expansion into other media. So, let’s begin with a history of the DCAU:

The DCAU began when producer Bruce Timm, writer Paul Dini, and producers Alan Burnett and Eric Radomski came together on a little project in 1992 called “Batman: The Animated Series” or BTAS for short. The show was the beginning of Bruce Timm’s animation style which would be used for another 14 years.

Batman: The Animated Series (1992-1995)

Batman: The Animated Series

Largely influenced by Frank Miller’s “Batman: The Dark Knight Returns” comic book, the Tim Burton Batman films and Fleischer’s Superman cartoons of the 1940’s, along with 40’s style environment and style, the series would become one of the most treasured comic book cartoons ever due to it being so faithful of an adaptation of the character. This show was way more adult-themed than previous superhero cartoons and featured quite a bit of violence for it’s time. The series presented mature writing and psychological stories that really showed Batman the way he should be shown, and recieves praise from fans of a variety of age ranges for it’s unique animation style and sophisticated, cinematic tone, also, the show’s title sequence had no title. This is also where Kevin Conroy began voicing Batman, which he would do for the remainder of the DCAU’s existence, and continue in the recent “Batman: Arkham Asylum” video game as well as “Superman/Batman: Public Enemies”. We would also see the debut of Mark Hamill (who played Luke Skywalker, in case you didn’t know) as The Joker, who would also reprise the role in the “Arkham Asylum” video game. The series featured classic villains alongside new ones, which made for a fresh Batman experience. The series would feature the creation of Harley Quinn, Mr. Freeze’s wife Nora Freise, Reney Montoya, Lock-Up, and Sewer King, all of whom would eventually be adapted into Batman’s comic book continuity. Robin would make his DCAU premiere in the two-part episode “Robins Reckoning”, which won an Emmy for Most Outstanding Half Hour or Less Program, beating out “The Simpsons”. The show would be moved from its weekday afternoon timeslot to a weekend timeslot and be renamed “The Adventures of Batman and Robin” at the beginning of it’s second season. In DCAU continuity, this show comes first and leads to “Superman: The Animated Series”.

Superman: The Animated Series (1996–2000)

Superman: The Animated Series

Superman: The Animated Series, or STAS, premiered on September 6, 1996 on The WB. With the same serious, realistic approach as BTAS, STAS was highly praised by critics and fans and was even nominated for an Emmy. Considered the most faithful adaptation of Superman to date, just as BTAS did with Batman, both shows (while slightly edited) would air on Toon Disney and now on Disney XD. This series featured great writing and followed BTAS’s footsteps without messing it up. They were able to create a good story that attracted viewers and fans of all kinds. The show featured Tim Daly as Clark Kent/ Superman, Michael Ironside as Darkseid, Clancy Brown as Lex Luthor and Dana Delany as Lois Lane. Tim Daly and Clancy Brown would reprise the role in “Justice League”, the movies and video games based on Superman of the DCAU and “Superman/Batman: Public Enemies”. The show would also feature the first appearances of many characters in the DCAU such as Green Lantern Kyle Rayner, Brainiac, Darkseid, Supergirl, Steel, Lex Luthor, Lobo, Metallo, and 3 members of The Legion of Super-Heroes, Cosmic Boy, Saturn Girl and Chameleon Boy. Halfway through the series, it would be combined with “The New Batman Adventures” to become “The New Batman/Superman Adventures”. In DCAU continuity, this show leads to “The New Batman Adventures” and “Static Shock”.

The New Batman Adventures (1997–1999)

The New Batman Adventures

“The New Batman Adventures”, or TNBA takes place a few years after BTAS and features Batman and his supporting cast of Nightwing (Dick Grayson), Robin (Tim Drake) and Batgirl (Barbara Gordon). The show also features guest appearances from characters such as Supergirl, Etrigan, and The Creeper. Notable episodes of the series include “Legends of The Dark Knight”, “Old Wounds”, which bridges the gap between BTAS and TNBA, and “Over The Edge”. The series’ animation was obviously different from its successor, and Batman, Mr. Freeze, The Scarecrow and The Joker recieved significant changes in appearance. Kevin Conroy still voiced Batman, while Robin was voiced by Matthew Valencia, Batgirl by Tara Strong and Nightwing by Loren Lester. Regardless of BTAS’ dark, serious tone, this show often swayed between dark and serious and lighthearted and charming. The show lasted two seasons and took place at roughly the same time as the events of STAS and Static Shock. Interestingly enough, this series tended to focus more on Batman’s supporting cast that on Batman himself which made for a great Saturday morning cartoon that every superhero cartoon lovin’ kid will love. This cartoon took the Batman Family concept and brought it to another level. By bringing these dynamic relationships to life, the producers of the show really set the base for the DCAU to take shape, evolve, and eventually become the Justice League cartoons. As a kid that grew up watching STAS and TNBA, I must say that these cartoons had a huge impact on how I look at the world and the way I live my life. If it weren’t for the DCAU, my life would be incredibly different.

Anyway, I hope you enjoyed this visit into the amazing world that is the DCAU, and make sure to come back for the next installments in this series of posts!

–moyermason@yahoo.com

Green Lantern: Secret Origin

“Green Lantern: Secret Origin” is a storyline from Geoff Johns’ run on Green Lantern, and spans issues #29-35. The storyline is a retelling of Hal Jordans origins as GL, and in this story his issue is changed to coincide with “Blackest Night“. The storyline has been printed in Soft-cover and Hard-cover trade paperback formats, or you can just pick up the single issues.

The story deals with Hal Jordan trying to make sense of his life while dealing with his first mission as a Green Lantern. We find Hal dealing with the death of his mother and problems with his brother Jack, his career situation after being kicked out of the Air Force, and his life get’s even crazier when a dying alien gives him the most powerful weapon in the universe.

Geoff Johns is obviously an excellent writer, and this story is a perfect example. This story is comparable with Johns’ other awesome GL stories, such as “Green Lantern: Rebirth”, and “The Sinestro Corps War”. When Johns did “Rebirth”, he brought Hal from the years as a renegade hero, his death, and being host of The Spectre and put him back in the role of Green Lantern, and just like that the entire GL franchise is revitalized. Then he shows off Sinestro’s might with “SCW” and shows that GL-centric events can be just as successful and just as great of a read as a Superman or Batman event. With “Secret Origin”, Johns brings GL into the modern era and shows us a flawed person with quite a bit on his plate who is suddenly thrust into this role as a protector of an entire space sector.

This version of Hal’s origin (which is Hal’s latest origin, the last being “Green Lantern: Emerald Dawn”) is a great story about how a normal person can rise above tragic circumstances and become part of something bigger than themselves. “Secret Origin” represents who Hal Jordan is and what the Green Lantern Corps is. It shows sides of characters that are familiar but still have an impact on you because the story is so relatable. Everyone makes mistakes, and Hal Jordan is proof of that. Hal Jordan is also proof that you can learn from those mistakes and use that knowledge to make the future better.

The art for this story is great, Ivan Reis is quite obviously a great choice for Green Lantern related projects, and Randy Mayor’s colors only make it that much better. The covers for this story are incredible, and really show what the tone of the series is as it progresses. Seeing such a vast array of characters is usual in GL, but when you see characters that have made an impression for years, such as Ch’P, Tomar-Re or Kilowog, it’s that much better when their drawn by Ivan Reis. The composition is a big reason I like the art so much because everything just seems to work: the Corps, the pencils, the inks & colors, all of it.

The story has a bunch of cool easter eggs, like Hal fighting with John Stewart in a bar, the address of the Armed Forces Recruiting Center being “2814″, Sinestro making fun of Hal keeping his power battery in his locker, lot’s of cool stuff like that. But, the series also has some lowpoints. For instance, I feel the entire Hector Hammond storyline could have been left out, it’s something we’ve seen before, “Secret Origin” is supposed to be about new beginnings. I also wish we could have seen more of Hal’s training and maybe even a conversation with Hal and Kilowog where their friendship begin’s. While it was cool seeing Hal and Sinestro fight Atrocitus, it would have been great to see a whole bunch of GL’s fighting Atrocitus equipped with the cosmic divining rod. After all, the device is extremely powerful, I’m sure Atrocitus could take on 5 or 6 GL’s at once (for a while).

So, after all is said and done, here is how I rate “Green Lantern: Secret Origin”:

Don’t forget to check out the rest of all the great stuff we have for you here at AComicBookBlog.Com.

–moyermason@yahoo.com

Jorge Molina | Illustrator & Concept Artist

At just 25, Jorge Molina is already on his way to a great career as a comic book artist.  He’s had the opportunity to work for DC Comics and Marvel.  This rising star from south of the border was kind enough to answer some questions so we can get to know him a little better.  Not only that, but he’s shared some of his art to get us excited about his upcoming projects including some work on the Siege tie-in arc of Avengers: The Initiative!

ACBB: For starters, tell our readers a little about yourself.

Well I’m a freelance illustrator and concept artist.  I’ve work for 3 years in video games, comics , clothing design and product design.  I loved drawing all my life, and studied art since I was a kid.

At 18, I spent a high school year in Walnut Hill, an art school in Boston, then I attended to a 2d and 3d animation career at Seneca College in Toronto.  My last year in Canada, I started working as a freelance artist with UDON and then I moved back to Mexico.  Then I started working on various projects from video games with companies like crystal dynamics and buzzed monkey software to comic companies like TOP COW, IMAGE, and DC COMICS, until I finally got to work for Marvel where I’ve been working for the last year, and currently penciling The Avengers Initiative.

Click to enlarge

ACBB: Since we don’t see as many Hispanic writers in the States as we do artists, what are some of the cultural difference you see in books published in the States versus books published in Mexico?

Well…to start off, there are very few books published here by Mexican authors, I don’t think it’s the lack of talent, but mostly the lack of resources to get it done.  Plus, it is a very small circle of people who are really passionate about this.  It’s one of the down sides of living here for me.

Back in Canada, all my friends were somewhat related and interested in the industry and that made it easier to work together with people and start developing ideas.  Here in Mexico, it’s not that easy to find people with the same interests.  For the few people that struggle to get their work done and published, they have to deal with all these obstacles to get your title distributed.  I just think comics here are pictured more like a “kid” type of entertainment and it’s not taken seriously.

ACBB: What was the first comic you remember reading and how did that impact your decision to work in sequential art?

The first comics I read when I was a kid were Superman and Batman ones.  I really don’t remember the issues because here in Mexico, you would get them randomly.  During summers, I spent most of my time at the beach and, since we didn’t have cable TV or Nintendo there, my mom and dad would always buy me comics to entertain myself.  To be honest I never followed stories but I was always attracted by the drawings.  After that, I discovered the Upper Deck Marvel cards that were very hard to find here, so this obsession grew in me because nobody was collecting these things at the time, and I felt so cool because I was the only one doing it.  So collecting cards and comics became my main hobby.  Then I fused my other hobby, drawing, and started copying all the cards and comics I liked.  I spent countless hours at the beach and school just copying and copying, then started creating my own characters and flunking in school because of that.

ACBB: Who has been your greatest influence and how does it reflect in your work?

Well, on personal matter, my parents – they always pushed me to follow this career even when I thought It was impossible.  It’s usually the other way around with most artists, but in my case, my parents saw the potential in me and almost “forced” me to do this.  Now I thank them because I really can’t picture myself doing anything else.

On the artistic side, there are tons of artists that have influenced me, many of my teachers from many years of study. As for my special artist influence, I have to admit Joe Mad has the spot (I know…another artist who loves Joe Mad).  It’s just that I was a teenager when the Mad mania started and his style was so fresh back then that I just wanted to copy everything he did, and not only artistically.  He started working on comics since he was around 16…..I wanted to become Joe Mad, so he was a big impact in my love for doing comics.

ACBB: What are some of the influences in your day-to-day life and how are you able to express that in your work?

Well, I try to look at the artwork that’s being produced out there…  Stalk artists on websites like Deviantart, CG society, conceptart.org, etc.  Basically, that keeps me fresh and inspired and motivates me to keep drawing and fuse what I see into my work.  I try to keep myself calm and happy while I’m working.  I really don’t like to rush things. I listen to Howard Stern every morning…that’s really helpful for me, makes the hours go by so fast and my work so easy!  But that’s for work…when I’m doing personal stuff music is my choice.

ACBB: How do you recharge your creative batteries?  What are some of the ways you do to take a break?

Well, I tend to look at comics a lot to keep pace of what the other artist are doing and try to learn from them.  I just got a sneak peek of Olivier Coipel’s work for Siege, which are fantastic, and it’s just so refreshing and inspiring to see other artists’ works.  A big way for me to take a break and recharge batteries are video games.  I’m a huge video game fan and they have some of the best art concepts out there.  With video games, I knock out 2 birds with one stone…I rest while I recharge my creative batteries and helps me to keep myself  inspired…  Although sometimes I over recharge my batteries and spend too many hours playing, I think I might be addicted to them.

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ACBB: At a relatively young age, you’ve already worked on quite a few projects with Marvel.  How did you get hooked up with one of the giants in the industry?

Well, I started working with Udon because one of my college teachers was working there and he asked me to join them.  From there, we went to San Diego Comic-Con and I saw the Marvel and DC booth to submit work, and I thought “well, let’s give it a shot and see what happens.”  So I dropped my portfolio on both booths, the next day I got interviewed by both companies and ended up working with both, too good to be true…  But that’s how it went.

ACBB: Was Avengers: The Initiative something you were asked to be a part of or did you actively pursue the chance to work on the book?

I was asked to be part of it.  I really didn’t know anything about the title, but when I saw some of the artists that worked on it I was honored.  You have Humberto Ramos and Rafa Sandoval there!!!

ACBB: With Avengers: The Initiative having a large cast, were you excited or nervous to deal with so many characters?

Hmmm…  I would say both.  Excited  because I get to draw some of my favorite characters from the Marvel universe, but also nervous cause I didn’t know many of them and I didn’t want to disappoint any fans.  Tigra gave me a hard time.  She has a big fan base and I always forget to draw her damn tail.  The editor always told me “don’t you dare to forget to draw her tail, the fans will never forgive you!”  So yes… I was nervous.  Tigra’s tail hunts me even to this day.

ACBB: A lot of the characters in Avengers: The Initiative are lesser known or completely forgotten.  How much research did you have to do for the characters when you did your first issue?

Ohh,  good question.  That was kinda of hard, because many times these characters are not even on the internet.  So I couldn’t get any reference from there.  Most of my reference material is mostly from the assistant editor at Marvel.  They have this huge reference database where they keep every single character you can think of.

ACBB: When working from a script for Avengers: The Initiative, how much direction are you given?  Do you get a chance to exercise some freedom in how the layout is set up or how the frames are drawn?

Yes, Christos’ [Gage] writing is incredible.  He pushes the artist just the perfect amount – not too much to limit you but enough to give you an idea and a feel of the scene and characters.  I really enjoyed working with him.  He keeps the pages organized – no more than 5 panels per page and I love that, because it leaves enough room for the page to breath and be easy to follow.  I’m really gonna miss working with Christos.

ACBB: About how many hours does it take for you to complete an entire issue of pencils?

Hmmm..hours??  Too many to count, but around a month to pencil a single issue working between 8 and 10 hours a day.  Believe me… it’s no picnic for me.  I’m slooooooowwww.

Taskmaster!!!  I love to draw that skull face of his.  I just like the whole design of the character.  He looks and feels like something I would have designed myself.  Plus he just has this tough/cool attitude.  I can draw him forever honestly.

ACBB: Who are some of the characters you’d really like to have a chance to draw in a book?

It’s gonna sounds cheesy, but Spider-Man!  Please, if any Marvel editor is reading this, GIVE ME A SPIDERMAN GIG!  He’s been my favorite hero since I was a kid and It would mean a lot to me if I could get to draw him on an issue.  Gambit is another character I love, he is fun to draw and he’s just so cool.

ACBB: Is there one particular writer you would like to work with?

Hmmm… many.  I love Bendis.  He is so hot right now.  I just read some of his scripts for Siege.  He has a great way of writing – almost like dragging you into his mind and makes you see exactly what he has in his head.  I love it.  I also had the great luck to work with amazing writers in my past that I admire – Joe Kelly, Jay Faerber and Jimmy Palmiotti.  Anything these guys write is gold to me.  I would work with them again without even thinking about it.

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ACBB: If you had the chance to work on any book from any publisher, what would it be?

Any Batman or Spider-Man title.  My girlfriend loves Batman, so I would get major points if I got on it. 

ACBB: Are you interested in doing any creator-owned projects?  Do you have any ideas for your own series or are you happy with working with already established characters?

I do have some stuff I’ve been working on.  My friend/artist/writer Cuxo Quijano and I were writing this comic script some time ago, and we still have to finish that.  Right now we are trying to wrap things on a cartoon pitch we have been working on for some time.  Hopefully it will see the light of day soon.  I’ve been developing characters for a while now, but it’s really a lot of work.  I just wished I could afford to retire for some time and do my own stuff but I’m enjoying myself right now.

ACBB: In one word, how would you describe your art style?

Alive.

ACBB: What advice would you give any artists out there who want to break into the comic book industry?

Well, I really don’t see myself as a mentor or anything, but something that helped me to get where I am is the internet.  I would recommend to all aspiring artists to use the internet to your advantage.  It can take you anywhere you want.  Nowadays there are so many websites of artist communities where you can show you work where thousands of people get to see it.  You never know who is out there looking and can give you a shot into the industry.  And make things happen for you, get in contact with editors and artists from the industry.  Now most of them have Facebook, Twitter, blogs and infinite ways to reach them.  Today, no one from the industry is hard to contact.  It all depends on yourself.

ACBB: Are you planning on attending any conventions this year?

San Diego only… but if anyone wishes me to go to another one, please pitch in!!!

ACBB: Are there any other projects you are working on that you can get us excited about?  Is there anything coming in the future we can look forward to?

Yes.  Before Avengers: The Initiative, I was working on a Hulk one shot title written by the master, Jimmy Palmiotti.  I should wrap the title soon.  All the artwork is mine so I was really exited to work on it.  Also some of my personal work will be published by a new art book being done by Udon.  It’s similar to the Apple books published by them.  Bunch of great artists expose their personal work.  I believe this will be presented at SDCC.

To see more of Jorge Molina’s work, you can visit his personal page HERE and his Deviantart page HERE. And to get a preview of some of his Hulk work check out the gallery blow.

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We can’t thank Mr. Molina enough for the opportunity to answer our questions!  All comic images are property of Marvel Comics.