If I were to sum up this week's take in a word, that word would be unsatisfying. Three of the four books left me wanting something more substantial. I guess you can't win them all in the weekly world of comics.
Landing hard in fifth place:
Green Lantern: Free Comic Book Day Issue
To say I'm thoroughly disappointed with DC's Free Comic Book Day submission would be the honest truth.
In Matt Idleson's introduction to the issue he says, "here's a sneak peek at the first part of Geoff Johns and Ivan Reis next blockbuster." What I saw in that issue wasn't a sneak peek at anything, but a reprint of an issue of Green Lantern: Secret Origin.
I was under the impression that Free Comic Book Day wasn't just to lure new fans to read new books, but to give us loyal fans a treat for being loyal fans.
Maybe I've been misinformed about Free Comic Book Day.
Green Lantern: Free Comic Book Day Issue
To say I'm thoroughly disappointed with DC's Free Comic Book Day submission would be the honest truth.
In Matt Idleson's introduction to the issue he says, "here's a sneak peek at the first part of Geoff Johns and Ivan Reis next blockbuster." What I saw in that issue wasn't a sneak peek at anything, but a reprint of an issue of Green Lantern: Secret Origin.
I was under the impression that Free Comic Book Day wasn't just to lure new fans to read new books, but to give us loyal fans a treat for being loyal fans.
Maybe I've been misinformed about Free Comic Book Day.
A surprising fourth place:
Superboy #7
I really wanted this book to finish higher. And it was a solid story, but the art was so horrendous, fourth is the best it can do.
One of my favorite things about comics is continuity. Continuity gets a bad wrap in most cases. Writers don't like it because they have to conform to it. New readers don't like it because there's too much to learn. But if you've been a loyal comic book reader for quite a while, and you've been paying attention, continuity is able to give you some worthwhile payback.
Example: Jeff Lemire's work in Superboy #7. Superboy has somehow been transported to an alternate timeline where he and Simon have killed all the heroes. We're in the dark as to how this happened until we see a familiar plant: the Black Mercy. The plant gets explained for any new readers, but us comic nerds don't need explaination.
This is how continuity pays off. At least for me. Knowing what a character has done before is one thing. But being able to recognize a plant and signs and sayings and all other small things that cross through a shared universe goes a long way to making it real.
Lemire does a great job using the Black Mercy to affect Superboy in a different way than most characters. Clever. And while I'm not sure Lemire's run on Superboy has been good enough to merit an Eisner nomination, this issue goes a long way to really kicking off a new story that pulls together everything Lemire has created so far.
The art was terrible though. Some panels are sketchy watercolors, some are inked, there are crazy panels all over the place. Its just not very good. Sorry Marco Rudy. Better luck next time, bud.
Superboy #7
I really wanted this book to finish higher. And it was a solid story, but the art was so horrendous, fourth is the best it can do.
One of my favorite things about comics is continuity. Continuity gets a bad wrap in most cases. Writers don't like it because they have to conform to it. New readers don't like it because there's too much to learn. But if you've been a loyal comic book reader for quite a while, and you've been paying attention, continuity is able to give you some worthwhile payback.
Example: Jeff Lemire's work in Superboy #7. Superboy has somehow been transported to an alternate timeline where he and Simon have killed all the heroes. We're in the dark as to how this happened until we see a familiar plant: the Black Mercy. The plant gets explained for any new readers, but us comic nerds don't need explaination.
This is how continuity pays off. At least for me. Knowing what a character has done before is one thing. But being able to recognize a plant and signs and sayings and all other small things that cross through a shared universe goes a long way to making it real.
Lemire does a great job using the Black Mercy to affect Superboy in a different way than most characters. Clever. And while I'm not sure Lemire's run on Superboy has been good enough to merit an Eisner nomination, this issue goes a long way to really kicking off a new story that pulls together everything Lemire has created so far.
The art was terrible though. Some panels are sketchy watercolors, some are inked, there are crazy panels all over the place. Its just not very good. Sorry Marco Rudy. Better luck next time, bud.
Ps - I thought the cover was pretty sweet. Karl Kerschl - two thumbs up.
Giving us a nice plot turn in third place:
Annihilators #3
Its been quite a while since I've seen a Skrull poking around comics books, but my lone Marvel representative in my pull-list delivers.
Annihilators #2 was disappointing. The direction the issue took felt like something that's been done before, and not at all like the solid storytelling Dan Abnett and Andy Lanning can bring. Issue #3 is a return to form. A twist here and a big idea there and Annihilators is back on solid ground.
Now, if only we can get some nod to when we're going to rescue Nova and Star Lord...
Rocket Raccoon & Groot
This is a cool little story. In the absence of Nova, Star Lord and the Guardians of the Galaxy, Rocket and Groot are all we have keeping the light on. Abnett and Lanning don't need a hook or a gimmick, they just write good characters and in turn, good stories.
A couple random thoughts:
1. Even being a veteran of nerd-culture, I still had to read, "the Halfworld is, in reality, a Matrioshka Brain, a bio-organic ecosystem of world spheres that maximize the power output of the sun at its center," a couple times.
2. For a nano-second I found myself wondering who the Green Lantern of the Keystone Quadrant was before I reminded myself I was reading a Marvel book.
Annihilators #3
Its been quite a while since I've seen a Skrull poking around comics books, but my lone Marvel representative in my pull-list delivers.
Annihilators #2 was disappointing. The direction the issue took felt like something that's been done before, and not at all like the solid storytelling Dan Abnett and Andy Lanning can bring. Issue #3 is a return to form. A twist here and a big idea there and Annihilators is back on solid ground.
Now, if only we can get some nod to when we're going to rescue Nova and Star Lord...
Rocket Raccoon & Groot
This is a cool little story. In the absence of Nova, Star Lord and the Guardians of the Galaxy, Rocket and Groot are all we have keeping the light on. Abnett and Lanning don't need a hook or a gimmick, they just write good characters and in turn, good stories.
A couple random thoughts:
1. Even being a veteran of nerd-culture, I still had to read, "the Halfworld is, in reality, a Matrioshka Brain, a bio-organic ecosystem of world spheres that maximize the power output of the sun at its center," a couple times.
2. For a nano-second I found myself wondering who the Green Lantern of the Keystone Quadrant was before I reminded myself I was reading a Marvel book.
Breaking the fourth wall and landing in second place:
Doom Patrol #22
Well... this one was entertaining. But somewhat open-ended. The in-story acknowledgement of the upcoming Flashpoint event and something called, "Didio," was funny in its own breaking-the-fourth-wall kind of way, but doesn't allude one way or the other to what's going to happen with this series post-Flashpoint. Being a huge fan of this book, I'm somewhat concerned.
MSE pulls out of Oolong Island without much fanfare. They just leave. And while it has a Doom Patrol quality to it, knowing that it happened because of Flashpoint takes away from the general wackiness that could have made it real Doom Patrol quality.
In the meantime, I'm going to keep my fingers crossed that there's a Doom Patrol after Flashpoint. And its still Giffen and Co. And that it doesn't go in a totally different direction. C'mon, DC. Don't let me down.
Doom Patrol #22
Well... this one was entertaining. But somewhat open-ended. The in-story acknowledgement of the upcoming Flashpoint event and something called, "Didio," was funny in its own breaking-the-fourth-wall kind of way, but doesn't allude one way or the other to what's going to happen with this series post-Flashpoint. Being a huge fan of this book, I'm somewhat concerned.
MSE pulls out of Oolong Island without much fanfare. They just leave. And while it has a Doom Patrol quality to it, knowing that it happened because of Flashpoint takes away from the general wackiness that could have made it real Doom Patrol quality.
In the meantime, I'm going to keep my fingers crossed that there's a Doom Patrol after Flashpoint. And its still Giffen and Co. And that it doesn't go in a totally different direction. C'mon, DC. Don't let me down.
And first place:
Secret Six #33
Secret Six strikes again. The Darkest House storyline wraps up in grand fashion, but just like Doom Patrol this week, the ending is more of, "that's it? They get out of hell just like that?"
I guess its not just like that. Scandal Savage has to decide who to use the Get Out Of Hell Free card on: her first love Knockout, or Liana the redheaded stripper. Tough choice as both are equally sexy.
The journey to the end is as touching and heartfelt, with enough limb ripping and bloodshed to satisfy the most fucked up reader. Gail Simone does a great job finding the "likeableness" in each of these awful human beings. And goddamn if King Shark isn't a great addition to the team. I was hesitant when I saw he'd be sticking around, but he's been a great addition.
I'd like to give a nod to the Daniel Luvisi who has been absolutely fantastic on these covers. A nice little touch was seeing the hell-version of each of the Secret Six in the covers to this arc as a little preview before we see them actually revealed as such in this last issue. A cool little addition.
Secret Six #33
Secret Six strikes again. The Darkest House storyline wraps up in grand fashion, but just like Doom Patrol this week, the ending is more of, "that's it? They get out of hell just like that?"
I guess its not just like that. Scandal Savage has to decide who to use the Get Out Of Hell Free card on: her first love Knockout, or Liana the redheaded stripper. Tough choice as both are equally sexy.
The journey to the end is as touching and heartfelt, with enough limb ripping and bloodshed to satisfy the most fucked up reader. Gail Simone does a great job finding the "likeableness" in each of these awful human beings. And goddamn if King Shark isn't a great addition to the team. I was hesitant when I saw he'd be sticking around, but he's been a great addition.
I'd like to give a nod to the Daniel Luvisi who has been absolutely fantastic on these covers. A nice little touch was seeing the hell-version of each of the Secret Six in the covers to this arc as a little preview before we see them actually revealed as such in this last issue. A cool little addition.
The Panel of the Week!
And oldie but a goodie coming from the deceiving Free Comic Book Day issue today. Ivan Reis, Oclair Albert and Randy Mayor's sweet two-page spread. They really nailed the weight and speed of that plane. Well done, good sirs.
-Gint
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