5-11-11 was a solid week for comic books. Every book would be graded a B at the worst.
With a solid fourth place effort:
Superman #711
Blech, blurch, huyaghhh. That's the sound of me vomiting at the cornball cheesiness of the last page of this issue. It's Superman telling Jimmy Olsen why America is so great and it give second changes to people like him, "and Livewire, too." Blach.
The previous 19 pages were actually pretty good. Chris Roberson took J. Michael Straczynski's outline and wrote a pretty cool Superman story. It wasn't the apex of what a Superman story can be, but it was fun. Eddie Barrows' art also seems to have found a nice groove compared to earlier issues in the Grounded arc which were baaaaad.
The only negative is that someone needs to update Jimmy Olsen. Its a small, but I can't handle him in sweaters and bowties anymore. Can someone at DC please update this character? Maybe I just don't like Jimmy Olsen.
Superman #711
Blech, blurch, huyaghhh. That's the sound of me vomiting at the cornball cheesiness of the last page of this issue. It's Superman telling Jimmy Olsen why America is so great and it give second changes to people like him, "and Livewire, too." Blach.
The previous 19 pages were actually pretty good. Chris Roberson took J. Michael Straczynski's outline and wrote a pretty cool Superman story. It wasn't the apex of what a Superman story can be, but it was fun. Eddie Barrows' art also seems to have found a nice groove compared to earlier issues in the Grounded arc which were baaaaad.
The only negative is that someone needs to update Jimmy Olsen. Its a small, but I can't handle him in sweaters and bowties anymore. Can someone at DC please update this character? Maybe I just don't like Jimmy Olsen.
Finishing third despite Scott Kolins' art:
The Flash #12
This issue raises the question, "Does Geoff Johns love the Flash universe too much or am I just not interested in those characters." There are times I see Sinestro or the Joker and I think, "man what a great character." But I see Reverse-Flash and I'm like, "meh." Maybe Flashpoint will change that.
This issue is the last issue that leads us right into Flashpoint. My favorite pages of this issue are pages 14 through 18... the pages Scott Kolins DIDN'T draw. Its such a breath of fresh air coming out of the messy, dark, weird-pupiled, pencil-shaded pages of Kolins and into the bright, clean, stylized art of Francis Manapul. Can somebody tell me why Manapul hasn't just finished up the Road to Flashpoint?
So, the story just sets up all the questions of Flashpoint: how'd Reverse-Flash change time, where'd Barry and Bart go, what's Reverse-Flash's ultimate goal and so on. Flashpoint has potential and I'm looking forward to digging into the first issue. Especially since I know I won't have to look at Scott Kolins' art while I'm reading it.
In the meantime, DC, PLEASE get Manapul on a regular book! This guy's pages are beautiful. Use him to take one of your books from good to exceptional.
This issue raises the question, "Does Geoff Johns love the Flash universe too much or am I just not interested in those characters." There are times I see Sinestro or the Joker and I think, "man what a great character." But I see Reverse-Flash and I'm like, "meh." Maybe Flashpoint will change that.
This issue is the last issue that leads us right into Flashpoint. My favorite pages of this issue are pages 14 through 18... the pages Scott Kolins DIDN'T draw. Its such a breath of fresh air coming out of the messy, dark, weird-pupiled, pencil-shaded pages of Kolins and into the bright, clean, stylized art of Francis Manapul. Can somebody tell me why Manapul hasn't just finished up the Road to Flashpoint?
So, the story just sets up all the questions of Flashpoint: how'd Reverse-Flash change time, where'd Barry and Bart go, what's Reverse-Flash's ultimate goal and so on. Flashpoint has potential and I'm looking forward to digging into the first issue. Especially since I know I won't have to look at Scott Kolins' art while I'm reading it.
In the meantime, DC, PLEASE get Manapul on a regular book! This guy's pages are beautiful. Use him to take one of your books from good to exceptional.
Finishing a REALLY close second (because saying 1a and 1b is a cop out):
Red Robin #23
There isn't much to say about this book other than its a really solid book. Fabian Nicieza has really planned out this book well. If it wasn't planned, he's done a great job making things up as he goes. He's planted a lot of characters and interweaving story beats in the beginning of his run that are still playing out. He's created a wide, rich world for Tim Drake that's able to exist on its own as well as inside the idea of Batman, Incorporated... whatever the hell that is.
Marcus To's art always looks very comfortable with itself. I never get the idea that he's working out of his range. He knows his style and uses it well.
Red Robin has to fall in with Secret Six and Doom Patrol as three books that are good examples of what a steady writer and creative team can accomplish on a book when given the freedom to really develop their own story.
There isn't much to say about this book other than its a really solid book. Fabian Nicieza has really planned out this book well. If it wasn't planned, he's done a great job making things up as he goes. He's planted a lot of characters and interweaving story beats in the beginning of his run that are still playing out. He's created a wide, rich world for Tim Drake that's able to exist on its own as well as inside the idea of Batman, Incorporated... whatever the hell that is.
Marcus To's art always looks very comfortable with itself. I never get the idea that he's working out of his range. He knows his style and uses it well.
Red Robin has to fall in with Secret Six and Doom Patrol as three books that are good examples of what a steady writer and creative team can accomplish on a book when given the freedom to really develop their own story.
And in first place:
Flashpoint #1
The big event's first issue kicks things off right. This was a good book. So was the twist at the end. Nice take on the mythos.
Dystopian futures are $oss' specialty. So my excitement for Flashpoint has been cautiously optimistic. Issue #1 really kicks things off in the right way. While I'm not particularly interested in any of the "heroes" Cyborg was trying to put together, I AM excited about our main 3 heroes (Flash, Batman & Cyborg). Its the right entrance point you need to become emotionally invested in this story. For maybe only the second time since his return, I feel for Barry Allen. Someone get this guy some help.
The art and colors were fantastic. Andy Kubert (my favorite of the Kuberts) and the art team didn't miss a beat. The splash pages are beautiful and the intimate panels were just as sharp.
Flashpoint will be offering a shit-ton of ancillary 3-part stories to augment the main title. You'll see a handful of them reviewed here when they're released, but I learned from Blackest Night that you don't need to pick up every issue. Some will be good, some will be bad. Here's hoping I picked the right ones.
Flashpoint #1
The big event's first issue kicks things off right. This was a good book. So was the twist at the end. Nice take on the mythos.
Dystopian futures are $oss' specialty. So my excitement for Flashpoint has been cautiously optimistic. Issue #1 really kicks things off in the right way. While I'm not particularly interested in any of the "heroes" Cyborg was trying to put together, I AM excited about our main 3 heroes (Flash, Batman & Cyborg). Its the right entrance point you need to become emotionally invested in this story. For maybe only the second time since his return, I feel for Barry Allen. Someone get this guy some help.
The art and colors were fantastic. Andy Kubert (my favorite of the Kuberts) and the art team didn't miss a beat. The splash pages are beautiful and the intimate panels were just as sharp.
Flashpoint will be offering a shit-ton of ancillary 3-part stories to augment the main title. You'll see a handful of them reviewed here when they're released, but I learned from Blackest Night that you don't need to pick up every issue. Some will be good, some will be bad. Here's hoping I picked the right ones.
And now to our Panel of the Week:
I've read a lot of Green Lantern comics in my day. I've seen alot of Abin Sur from a lot of different artists. What I wonder is if he looks this way because of Temuera Morrison's Abin Sur in the upcoming Green Lantern movie, or is this just the way Andy Kubert wanted to draw him? Or am I just a jaded comic fan that fears comics feel like they have to mold themselves around their big budget movies?
This is the kind of insane crap that keeps me up at night. Fuck.
-Gint
No comments:
Post a Comment