By the inimitable Scott James, who's done a few pieces for me over the last couple years. This year's treat from Pittsburgh: They call him....Mr. Fixit!
This occasion marked the first time Scott, who's a HUGE fan of the Fixit incarnation, actually drew him in a sketch! Interestingly, this wasn't the only piece I got in Pittsburgh this year that featured the Hulk in one of his more notorious guises. Stay tuned!
On the way soon: more "Crossing"! More DC Comics relaunch criticisms! And Warren Ellis & George Perez' nigh-forgotten mid-90s collaboration!
~G.
12.6.11
11.6.11
EXCLUSIVE PREVIEW: Incredible Hulks #631!
Courtesy Marvel Comics, hot on the heels of yesterday's interview with Greg Pak on "Heart of the Monster," here's an EXCLUSIVE preview of the next issue, Incredible Hulks #631, on sale June 22 at a comic shop near you! As in the last issue, art is by Paul Pelletier, Danny Miki and Morry Hollowell, and as you can see, these pictures are worth...you know! (Click for full-size versions.)
Is it my birthday?
~G.
Is it my birthday?
~G.
10.6.11
5 Questions With Greg Pak: "Heart of the Monster"
This week marks the release of the first part of writer Greg Pak's swan song on The Incredible Hulks. Since beginning work on the Hulk character in 2006 on "Planet Hulk," he's become an authority on ol' Greenskin and easily the most admired writer to pen the series since the departure of Peter David. What opening salvo of his ultimate arc would be complete without an interview with the man himself?
(If all goes well, this post will soon be updated with new preview art!)
DELUSIONAL HONESTY: So, "Heart of the Monster" is your final Hulk story. What's it all about, and why end your story here?
GREG PAK: We're finally getting to the core of who the Hulk really is and what he really wants. And that's a very, very scary place. This is the culmination of the five-and-a-half year arc of stories that began with "Planet Hulk" back in 2006. Over the years, the Hulk, who always said he just wants to be left alone, has surrounded himself with friends and family. He's grown from monster to hero and then wavered back and forth a few times. And he's seen the terrible price that those who are close to him tend to pay, again and again. In "Heart of the Monster," the Hulk has finally had enough. And he'll finally get what he's always really wanted. Lord help us all.
DH: It appears Tyrannus and Red She-Hulk will be central to your finale, with their involvement in "The Spy Who Smashed Me" and that shocking conclusion. How did that tableau come to mind, and how do the characters stand to impact "Heart of the Monster"?
GP: Tyrannus and Red She-Hulk absolutely will pay a key role in this final story arc. Red She-Hulk, a.k.a. Betty Ross, is, of course, Bruce Banner's first love. There's no one who can push his buttons like she can -- and we're about to learn what she's really after. And Tyrannus is the Hulk's oldest surviving arch-enemy. He's had plenty of time to prepare for this final conflict.
DH: Why bring back these Hulk villains (Tyrannus, Umar, Armageddon, Wendigo, Fin Fang Foom)? Personal nostalgia, fan request, some combination or something else entirely?
GP: A big part of the story centers around a wishing well. Everyone's going to get what he or she wants, for better or for worse. And I guess I might have granted a few wishes to myself along the way. These are all Hulk villains I've loved forever and this seemed like a great place to be able to play with them. But they're all great characters with the right backstories and objectives to hit the Hulk in just the right way in this final, climactic storyline.
DH: Do you have any extra guest stars or villains in store for these last 6 issues?
GP: A brilliant and lovely Italian crypto-mythologist might make a reappearance. And a man whom some might call Bruce Banner's best friend in the superhero community will play a big role in the last two issues.
DH: What have you learned about the Hulk & his cast over your tenure?
GP: Whoa. That's a big question. Let me think...
The amazing thing about writing the Hulk is realizing how far previous writers were willing to take their stories and how willingly audiences followed. The Hulk's almost ridiculously simple -- when Banner gets mad, he Hulks out and smashes. But great writers and devoted readers have explored and embraced all of the different, deep, emotional stories that stem from that setup. The thing I'm most impressed by is how far Hulk fans are willing to go with the tragic aspects of the character. It's a human truth -- when you give yourself over to wrath, no matter how justified, your story more often than not will turn into a tragedy. I'm grateful for readers who are so willing to grapple with stories like that -- and who understand that the triumphs our beloved green goliath occasionally achieves are so much sweeter as a result.
Many thanks to Mr. Pak for teasing us with all the turbulent times just around the corner for everyone's favorite Green Goliath! Incredible Hulks #630 is now on sale at your local comics retailer. (Please support them!) The series ships biweekly, and the final issue, #635, is now available for order in Diamond Previews with several variants, including a blank one upon which you can obtain a snazzy original sketch!
~G.
(If all goes well, this post will soon be updated with new preview art!)
DELUSIONAL HONESTY: So, "Heart of the Monster" is your final Hulk story. What's it all about, and why end your story here?
GREG PAK: We're finally getting to the core of who the Hulk really is and what he really wants. And that's a very, very scary place. This is the culmination of the five-and-a-half year arc of stories that began with "Planet Hulk" back in 2006. Over the years, the Hulk, who always said he just wants to be left alone, has surrounded himself with friends and family. He's grown from monster to hero and then wavered back and forth a few times. And he's seen the terrible price that those who are close to him tend to pay, again and again. In "Heart of the Monster," the Hulk has finally had enough. And he'll finally get what he's always really wanted. Lord help us all.
DH: It appears Tyrannus and Red She-Hulk will be central to your finale, with their involvement in "The Spy Who Smashed Me" and that shocking conclusion. How did that tableau come to mind, and how do the characters stand to impact "Heart of the Monster"?
GP: Tyrannus and Red She-Hulk absolutely will pay a key role in this final story arc. Red She-Hulk, a.k.a. Betty Ross, is, of course, Bruce Banner's first love. There's no one who can push his buttons like she can -- and we're about to learn what she's really after. And Tyrannus is the Hulk's oldest surviving arch-enemy. He's had plenty of time to prepare for this final conflict.
DH: Why bring back these Hulk villains (Tyrannus, Umar, Armageddon, Wendigo, Fin Fang Foom)? Personal nostalgia, fan request, some combination or something else entirely?
GP: A big part of the story centers around a wishing well. Everyone's going to get what he or she wants, for better or for worse. And I guess I might have granted a few wishes to myself along the way. These are all Hulk villains I've loved forever and this seemed like a great place to be able to play with them. But they're all great characters with the right backstories and objectives to hit the Hulk in just the right way in this final, climactic storyline.
DH: Do you have any extra guest stars or villains in store for these last 6 issues?
GP: A brilliant and lovely Italian crypto-mythologist might make a reappearance. And a man whom some might call Bruce Banner's best friend in the superhero community will play a big role in the last two issues.
DH: What have you learned about the Hulk & his cast over your tenure?
GP: Whoa. That's a big question. Let me think...
The amazing thing about writing the Hulk is realizing how far previous writers were willing to take their stories and how willingly audiences followed. The Hulk's almost ridiculously simple -- when Banner gets mad, he Hulks out and smashes. But great writers and devoted readers have explored and embraced all of the different, deep, emotional stories that stem from that setup. The thing I'm most impressed by is how far Hulk fans are willing to go with the tragic aspects of the character. It's a human truth -- when you give yourself over to wrath, no matter how justified, your story more often than not will turn into a tragedy. I'm grateful for readers who are so willing to grapple with stories like that -- and who understand that the triumphs our beloved green goliath occasionally achieves are so much sweeter as a result.
Many thanks to Mr. Pak for teasing us with all the turbulent times just around the corner for everyone's favorite Green Goliath! Incredible Hulks #630 is now on sale at your local comics retailer. (Please support them!) The series ships biweekly, and the final issue, #635, is now available for order in Diamond Previews with several variants, including a blank one upon which you can obtain a snazzy original sketch!
~G.
9.6.11
DC Relaunch: Talking Shop With Phantom Of The Attic's Ron Russitano
Recently, I had the pleasure of talking to Ron Russitano, owner of one of Pittsburgh, PA's largest comics retailers, about DC Comics' recent decisions to relaunch their line and make the jump to a same-day digital and print release schedule. Ron has owned the shop for nearly two decades and has seen all the highs and lows of the industry since that time, so I felt confident asking his opinion.
DELUSIONAL HONESTY: What's your customer base?
RON RUSSITANO: In the city of Pittsburgh, it's considered a large shop. In California, we'd be considered a small shop. [Laughs]
DH: First, how has DC been selling in your shop recently?
RR: DC is still second to Marvel, and the pushback to $2.99 for each comic only had marginal success as far as attracting new customers
DH: What's your opinion so far on DC's announcement about shipping all 52 new #1's in a single month? How does that impact you as a retailer?
RR: At first I thought it would make it a little tough to order, but then I heard that most of the books would be fully returnable, which will probably make me over-order everything.
DH: I know that per the communique with Bob Wayne from DC, 41 of the 52 relaunches will be returnable for at least the first three months. And then you as a retailer have to order 125% more than your May orders in order for the books to be returnable. If you have to return them, then you'll be issued credit minus ten percent of the cover price.
RR: Yeah, the restocking fee.
DH: Is that advantageous for you as a retailer, then?
RR: It is on the surface, but out of all my subscribers, I have hundreds of subscribers, and only three of them have told me that they're going to buy everything. Just a small percentage.
DH: What is the early reaction from your customers who are in the know? Is anyone dropping/adding books?
RR: Everyone's adding, nobody's dropping, but I am hearing verbal complaints.
DH: What kind of complaints?
RR: Too ambitious, a lot of continuity people do not want to see their continuity erased. A lot of people believe this is going to be a reboot and not a relaunch.
DH: And there's still some confusion about that.
RR: Yeah, that's a good way of putting it.
DH: What about DC's announcement of going same-day digital with all releases. How does that stand to impact you?
RR: I believe that is the beginning of the end of brick-and-mortar stores, but maybe not as fast as I had initially thought. I thought it would be the beginning of the end in a fairly rapid manner. Most of the people I talk to who have looked at digital comics find that they're not as fulfilling an experience, as opposed to holding the book in their hand. Now, how that translates to kids who are in their teens and twenties, that's a different story, because all my customers seem to be over the age of thirty. [Laughs]
DH: Do you think the price parity will help keep the local comic shop competing?
RR: It helps, it definitely helps. To me the only, the biggest advantage that digital has over buying them off the shelf is that people don't have to worry about storage so much, so many comics. That's the only advantage. You don't have the physical storage space. Other than that, I think if you take that away, anyone would take the paper copy over digital.
DH: Are you expecting new customers when the new #1s come out?
RR: I'm sure there's going to be some people who have dropped out of the industry who are curious to see what's going to happen, and might stop back in, but there's no way to gauge that.
DH: Do you think Marvel will be following in DC's footsteps?
RR: That's a good question. I think it's inevitable, but who knows how Disney works?
DH: We also have Diamond's digital program. Have you heard anything that might be forthcoming on that front?
RR: Yeah, I heard that that's gonna be available to retailers sometime in August or September. I've talked with two [Diamond] representatives about it already. From what I hear, Diamond is not very happy with DC's plan to forgo Diamond distribution and the retailers as far as the digital. They're not happy about it at all. But I can't name my sources!
DH: No worries. Do you have anything else to say? Do you see DC's developments as generally good or bad for the industry?
RR: As a reader, I'm very interested. I'm still a comic book fan and a reader, unlike most comic [shop] owners. I'm very much looking forward to all the new #1 launches to read, it's something that piques my curiosity. As a retailer, I am not happy at all about the digital. But, there's nothing you can do about it, because you can't stop the internet.
DH: Do you think it might have been better for DC--I've heard this from a few other retailers--that they think it would've been better to spread all the relaunches out over a few months as opposed to having 52 all in one month?
RR: I think this is a little daunting for people's pocketbooks in this economy. Yes, I agree with that.
My thanks go out to Ron for being gracious enough to talk about this popular topic in comics today. If you're ever in Pittsburgh, please stop by Ron's shop at Parkway Center Mall. Phantom of the Attic has a website and a Facebook page, and the shop has just started a Twitter feed, too!
~G.
DELUSIONAL HONESTY: What's your customer base?
RON RUSSITANO: In the city of Pittsburgh, it's considered a large shop. In California, we'd be considered a small shop. [Laughs]
DH: First, how has DC been selling in your shop recently?
RR: DC is still second to Marvel, and the pushback to $2.99 for each comic only had marginal success as far as attracting new customers
DH: What's your opinion so far on DC's announcement about shipping all 52 new #1's in a single month? How does that impact you as a retailer?
RR: At first I thought it would make it a little tough to order, but then I heard that most of the books would be fully returnable, which will probably make me over-order everything.
DH: I know that per the communique with Bob Wayne from DC, 41 of the 52 relaunches will be returnable for at least the first three months. And then you as a retailer have to order 125% more than your May orders in order for the books to be returnable. If you have to return them, then you'll be issued credit minus ten percent of the cover price.
RR: Yeah, the restocking fee.
DH: Is that advantageous for you as a retailer, then?
RR: It is on the surface, but out of all my subscribers, I have hundreds of subscribers, and only three of them have told me that they're going to buy everything. Just a small percentage.
DH: What is the early reaction from your customers who are in the know? Is anyone dropping/adding books?
RR: Everyone's adding, nobody's dropping, but I am hearing verbal complaints.
DH: What kind of complaints?
RR: Too ambitious, a lot of continuity people do not want to see their continuity erased. A lot of people believe this is going to be a reboot and not a relaunch.
DH: And there's still some confusion about that.
RR: Yeah, that's a good way of putting it.
DH: What about DC's announcement of going same-day digital with all releases. How does that stand to impact you?
RR: I believe that is the beginning of the end of brick-and-mortar stores, but maybe not as fast as I had initially thought. I thought it would be the beginning of the end in a fairly rapid manner. Most of the people I talk to who have looked at digital comics find that they're not as fulfilling an experience, as opposed to holding the book in their hand. Now, how that translates to kids who are in their teens and twenties, that's a different story, because all my customers seem to be over the age of thirty. [Laughs]
DH: Do you think the price parity will help keep the local comic shop competing?
RR: It helps, it definitely helps. To me the only, the biggest advantage that digital has over buying them off the shelf is that people don't have to worry about storage so much, so many comics. That's the only advantage. You don't have the physical storage space. Other than that, I think if you take that away, anyone would take the paper copy over digital.
DH: Are you expecting new customers when the new #1s come out?
RR: I'm sure there's going to be some people who have dropped out of the industry who are curious to see what's going to happen, and might stop back in, but there's no way to gauge that.
DH: Do you think Marvel will be following in DC's footsteps?
RR: That's a good question. I think it's inevitable, but who knows how Disney works?
DH: We also have Diamond's digital program. Have you heard anything that might be forthcoming on that front?
RR: Yeah, I heard that that's gonna be available to retailers sometime in August or September. I've talked with two [Diamond] representatives about it already. From what I hear, Diamond is not very happy with DC's plan to forgo Diamond distribution and the retailers as far as the digital. They're not happy about it at all. But I can't name my sources!
DH: No worries. Do you have anything else to say? Do you see DC's developments as generally good or bad for the industry?
RR: As a reader, I'm very interested. I'm still a comic book fan and a reader, unlike most comic [shop] owners. I'm very much looking forward to all the new #1 launches to read, it's something that piques my curiosity. As a retailer, I am not happy at all about the digital. But, there's nothing you can do about it, because you can't stop the internet.
DH: Do you think it might have been better for DC--I've heard this from a few other retailers--that they think it would've been better to spread all the relaunches out over a few months as opposed to having 52 all in one month?
RR: I think this is a little daunting for people's pocketbooks in this economy. Yes, I agree with that.
My thanks go out to Ron for being gracious enough to talk about this popular topic in comics today. If you're ever in Pittsburgh, please stop by Ron's shop at Parkway Center Mall. Phantom of the Attic has a website and a Facebook page, and the shop has just started a Twitter feed, too!
~G.
8.6.11
Be Careful What You Wish For (Review: Incredible Hulks #630)
"Heart of the Monster," Part One
Writer: Greg Pak
Artists: Paul Pelletier & Danny Miki
Colorist: Morry Hollowell
Letterer: Simon Bowland
Production: Irene Y. Lee
Assistant Editor: Jake Thomas
Editor: Mark Paniccia
Publisher: Marvel Comics
Let's be clear: I certainly didn't wish for the end of Greg Pak's tenure on the Hulk. But if you've been following this blog, you've known it was coming. (Exhibits A and B.)
That said, this issue gets the ball rolling with part one of Pak's six-part sendoff, the aptly-titled "Heart of the Monster." We pick up after the end of the last arc, with Bruce Banner deciding to repress his feelings and just move on from Betty, who has apparently forsaken her human identity in favor of the more "liberated" form of Red She-Hulk. Not just that, she's gone away with Tyrannus, one of the Hulk's oldest foes. How in the world, then, can Banner remain icily calm at a time like this? Can his friends help him in this time of need? And what in the world does Tyrannus have up his sleeve now?
In the last few arcs, Pak has progressively pared down the Hulk's supporting cast, which burgeoned under his watch these last few years. He's had the Hulk and family confront Skaar's twin brother Hiro-Kala in "Dark Son"; he's dealt with the character's new connections with Hercules and the Greek gods during "Chaos War"; he's had the Hulk say farewell to his son Skaar and the Warbound, now in the Savage Land, in "Planet Savage"; he's had the Hulk deal conclusively with Miek from "Planet Hulk" in the same story; and in the last arc he gave readers as bare bones a cast as ever, centering on the Bruce-Betty paradigm and bringing in Amadeus Cho to lighten the mood. Introduced by Pak and artist Takeshi Miyazawa in Amazing Fantasy #15 only a month or so before he began his tenure on this book (in a story guest-starring the Hulk, no less), his presence feels an important component of winding up the writer's tenure with ol' Greenskin. Rick Jones, who recently became "A-Bomb" in the wake of World War Hulk, and Jen Walters, the original She-Hulk, round out the team of Hulks. Although it's certainly possible others will return before the ending in #635, the story feels complete with these four as the protagonists.
Of course, I did say "protagonists," so it's only natural that more villains arrive to justify the six-part storyline. Yet another of Bruce Banner's former loves arrives during the story, kicking the narrative in another direction and also bringing Betty's situation squarely back in focus for the Hulk family. It's an interesting move, certainly, as is Pak's decision to involve even more villains on the story's final page. I'm honestly torn, as while I like virtually all the villains shown, from various eras in Hulk history, it feels like he may be trying to do too much, too quickly, especially given the flimsy explanation offered for their sudden presence. (Hint: Monkey's Paw.) Still, this first part of the storyline is meant to set up the rest of the arc, and in that respect Pak succeeds admirably in defining tension, heightened emotion, and terrifically high stakes.
Returning this issue to send Greg Pak and the Hulk off on their separate ways is the artistic team of Paul Pelletier and Danny Miki, aided by colorist Morry Hollowell (who formerly colored Ed McGuinness' end run on Hulk). Pelletier is a terrific storyteller, putting forth an excellent first installment, and Miki and Hollowell complement his linework superbly. He can convey so much in a single panel, and ably shows the Hulk's power as well as quieter, emotional moments. I hope he can maintain this level of quality throughout all six parts of this storyline.
"Heart of the Monster" begins here, so we have five more issues of Greg Pak's awe-inspiring work with the Hulk and his supporting cast left. Part one has terrific artwork and a solid story, if a little reliant on coincidence and a need to make developments occur quickly. I imagine I'll have more to say as the story moves onward, but this issue's worth checking out. Please Read It today!
~G.
7.6.11
Heard About It, Didn't Believe It. "I...Vampire!" is BACK!
Okay, DC. You have me on board for yet another series. I heard rumors about this one months ago (won't say where, or from whom, but they were right on the f***ing money). I dismissed those rumors. Shame on me!
"Vampires threaten to bring ruin to the DC Universe in I, VAMPIRE #1 by rising star Josh Fialkov and artist Andrea Sorrentino. Tortured by his centuries-old love for the Queen of the Damnned, Andrew Bennett must save humanity from the violent uprising of his fellow vampires, even if it means exterminating his own kind."
You can bet I'll be following this story further and trying to get an interview ASAP. I'm a fan of Andrew Bennett from way, way back. (Okay, maybe just a few years, since I bought the full run of House of Mystery in which he starred!) The original series, by J.M. DeMatteis and a host of others, is on the list of my most wanted trades and I've always wanted a revival. Now, if they'll only use the original logo! (And credit DeMatteis & Sutton with the original incarnation!)
~G.
"Vampires threaten to bring ruin to the DC Universe in I, VAMPIRE #1 by rising star Josh Fialkov and artist Andrea Sorrentino. Tortured by his centuries-old love for the Queen of the Damnned, Andrew Bennett must save humanity from the violent uprising of his fellow vampires, even if it means exterminating his own kind."
You can bet I'll be following this story further and trying to get an interview ASAP. I'm a fan of Andrew Bennett from way, way back. (Okay, maybe just a few years, since I bought the full run of House of Mystery in which he starred!) The original series, by J.M. DeMatteis and a host of others, is on the list of my most wanted trades and I've always wanted a revival. Now, if they'll only use the original logo! (And credit DeMatteis & Sutton with the original incarnation!)
~G.
4.6.11
Avengers - The Crossing: Worse Than Visiting Betty Ford, As Voted By Iron Man (2)
Welcome back my friends, to the show that never ends...
Continuing my (over-)analysis of "The Crossing," the storyline many Avengers fans decry as a mighty embarrassment, this time we're getting to the middle seven pieces of the puzzle, where the immediate mysteries are (somewhat) resolved and the team undergoes some drastic changes, for better or worse. We'll begin with Force Works #18, which technically belongs in our last installment but whose revelations fit much better in this segment. We'll then ramp up to the four-part finale, "TimeSlide," wherein...well, you know. Everyone got their air sickness bags? It's gonna be a bumpy ride...
Force Works' Hex-Ship crash-lands in the lost land of Vietnam. Back at the home base, Cybermancer and Spider-Woman's daughter Rachel wonder what's become of the team and Works PR rep Amanda Chaney realizes she can't remember anything about Moonraker having joined the team. (News flash: ask Abnett & Lanning!) She asks the Works computer Plato instead, and they discover temporal radiation emanating from a previously-unknown sub-basement. The basement contains Virgil, a "global chronography analysis and control suite" created by Timely Industries, a company founded by Tony Stark in 2009--fourteen years in the future. (Readers may remember "Victor Timely" was one of Kang's aliases from the early 20th Century. That sound you just heard was every continuity nerd's head exploding.) In Vietnam, Moonraker comes across the Temple of Agaphaur built by the Priests of Pama. A team of Anachronauts engages the team in battle. In the middle of the fight, a boy exposed to "chronal energies" transforms into an adult, winged creature the Anachronauts call an "alpha-level candidate," hinting at their endgame while the rest of us are swatting at the swarm of buzzwords. His memories resurfacing, Moonraker reveals himself as Gustav Brandt, formerly the rogue called Libra--and father to Mantis. (Dun dun DUNNN.)
Next, we rejoin Tony Stark, newly outed as a TRAITOR!, back on Chronopolis among Kang, Mantis, the Professor, Mary Ann and a host of Anachronauts. Kang reveals that their longtime enemy is ready to make his move, years ahead of schedule, and that they must secure this "temporal beachhead" so they can defeat him. (Hey, wait...what are years to time travelers?) Stark returns to Works HQ to find Amanda in the sub-basement. Chased by Stark, she finds freezer units, one of which is occupied by Suzi Endo, which begs the question: who is Cybermancer? That answer must wait until just before cancellation, as Stark coldly kills Amanda then activates Virgil's "Siege Perilous" protocol, synching up with a recently-launched satellite. War Machine flies to The Works while USAgent and Black Widow pursue on land. Meanwhile in Vietnam, Brandt reveals that when he died, the Priests of Pama saved his spirit and grafted it to the body of Moonraker, who in an alternate reality was a trusted member of Force Works. They sent him as a warning against Mantis to be activated when the time was right. When Moonraker crossed from the alternate reality of his creation to this one, his history, including his romantic relationship with Spider-Woman, crossed too. (Say huh?) He says Kang plans to reshape the Earth with his "chronographic powers" which, loosed on Vietnam, caused the young boy's metamorphosis from the last issue. Many will die, but those that mutate like the boy will fill Kang's Anachronaut ranks.
Back at The Works, Century, an alien member of the team, returns from a solo adventure as Rhodey arrives. As before, Stark tries to convince Century how "they've all turned against [him]," but he doesn't take the bait and saves Rachel and Rhodey from being blasted to bits. Century takes Rachel away, and Rhodey transforms into his new alien War Machine suit to take on Stark...and it's on like Donkey Kong. But with uglier art.
War Machine and Iron Man square off, and Stark is as fierce as Rhodey's ever seen him. Century discovers Amanda's corpse while fighting Cybermancer. He defeats the villainess handily, while Iron Man and War Machine punish each other. Rhodey can't deliver the killing blow because, well, there are still several parts left in the event. Stark lasers him, refraining from killing him (because there are three issues left in the series!) and flies away, while authorizing Virgil to use deadly force to defend itself from completing its duty to activate the Starcore satellite that will bombard the Earth with the same chronographic energies that affected Vietnam. War Machine heals, and after a meeting of the remaining members of the team, he, Scarlet Witch, Fisher Todd and USAgent remain at The Works to shut down the Siege Perilous protocol while Black Widow, Century, Moonraker, Spider-Woman and daughter teleport to rejoin the Avengers.
Stark returns to his secret arctic lair and repairs Machinesmith, whom Masque demolished during her escape. Meanwhile, Masque and the assembled members of Force Works and the Avengers compare revelations, and they communicate via telepresence with the remaining Force Works members who are facing Virgil. Masque alerts them to Stark's arctic bunker and a small team consisting of Crystal, Vision, Century and Moonraker teleports there. Marianne Rodgers is seemingly getting past Stark's emotional barriers at last when the team arrives, setting off the facility's alarms. Unable to penetrate the bunker's defenses, the team is contacted by Marianne, who tells them that Stark has been corrupted for years and that (wait for it...) there was a time when a younger Stark was free of that evil. They teleport back to the Avengers' temporary HQ but Moonraker is no longer with them, kidnapped in mid-journey by Kang and Mantis.
Back at The Works, Cybermancer and Virgil (revealed as a super-beefy computerized avatar of Stark...egotistical much?) conduct their attack on the remaining Force Works crew. Thanks to using some holographic images to weasel around some traps, and thanks to Plato, another of Stark's computer systems with allegiance to the team, they're able to abort the firing sequence to Kang's chronographic weapon. Everyone commences another round of uninspired bitching about Stark being a traitorous so-and-so. Can we move along now?
You bet we'll move along, but it's into space, where the chronographic weapon in Stark's satellite waits to be triggered on-site! Who can activate the weapon from space, you might ask? It's Dirge, one of Kang's mighty minions, wearing a suit of Warwear just like Rhodey. Also on the satellite is Skye, a woman Rhodey met while on vacation, who reveals that her cosmic-level employer foresaw "The Crossing" and wanted him to combat Stark. To that end, when Rhodey lost his regular War Machine armor, she led him to the Eidolon Warwear as a replacement. She expected him to kill Stark but obviously that didn't happen. Dirge delivers a fatal blow to Skye, who survives long enough to see Rhodey use more of the Warwear's abilities to defeat Dirge. His destiny and that of the Warwear are linked, she says, and that destiny lies....IN SPAAAAAAAACE! Ahem. And oh yeah, Rhodey destroys that pesky satellite. The end.
In the last stop before "TimeSlide," Kang and Mantis relentlessly torture Moonraker/Libra at Chronopolis. Older Luna frees him, but Malachi, Tobias, Neut and other Anachronauts bar her exit. She summons her "time-chair" and succeeds in crossing through time to the Avengers, demanding they help Moonraker. Masque knocks her unconscious even as Hercules remembers she was the one who tried to warn them about Stark at the very beginning. When she awakens in Pym's med-lab, Quicksilver and Crystal find her familiar, as do the others. There's no time to rest, however, as Kang's soldiers have followed Luna and Moonraker. Neut cleaves a path deep into the mansion singlehandedly, disemboweling the new Swordsman and knocking the rest of the team on their keisters. Luna throws herself between Neut's energy beam and her parents, taking the brunt of the blow and dying. Neut is ready to kill the team when the revivified, newly-mutated Wasp emerges from her cocoon and takes him down from behind. She's now more wasp than human, but other than that, Hank Pym declares her to be in "perfect physical health--better than [she's] ever been before!" Uh, yeah, but she still looks like a bug, genius!
As the team licks their wounds, Masque and Black Widow discuss their next move. They have a time portal in the basement, but they can't just go back and kill Tony Stark. Masque suggests the best way to stop a genius like Stark is with another genius. And thence begins the madness that leads to...Teen Tony!
Sorry it's taken so long to get to this point, peoples, but entry number three (the finale, honest!) will be en route soon enough. Who is Kang's mortal enemy? What more madness could Marvel wring out of Earth's mightiest heroes? Next time: Let's do the TimeSlide (again?)!
It's just a jump to the left...
~G.
Continuing my (over-)analysis of "The Crossing," the storyline many Avengers fans decry as a mighty embarrassment, this time we're getting to the middle seven pieces of the puzzle, where the immediate mysteries are (somewhat) resolved and the team undergoes some drastic changes, for better or worse. We'll begin with Force Works #18, which technically belongs in our last installment but whose revelations fit much better in this segment. We'll then ramp up to the four-part finale, "TimeSlide," wherein...well, you know. Everyone got their air sickness bags? It's gonna be a bumpy ride...
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Nothing quite like headache-inducing exposition with your cliffhanger, eh? |
Force Works' Hex-Ship crash-lands in the lost land of Vietnam. Back at the home base, Cybermancer and Spider-Woman's daughter Rachel wonder what's become of the team and Works PR rep Amanda Chaney realizes she can't remember anything about Moonraker having joined the team. (News flash: ask Abnett & Lanning!) She asks the Works computer Plato instead, and they discover temporal radiation emanating from a previously-unknown sub-basement. The basement contains Virgil, a "global chronography analysis and control suite" created by Timely Industries, a company founded by Tony Stark in 2009--fourteen years in the future. (Readers may remember "Victor Timely" was one of Kang's aliases from the early 20th Century. That sound you just heard was every continuity nerd's head exploding.) In Vietnam, Moonraker comes across the Temple of Agaphaur built by the Priests of Pama. A team of Anachronauts engages the team in battle. In the middle of the fight, a boy exposed to "chronal energies" transforms into an adult, winged creature the Anachronauts call an "alpha-level candidate," hinting at their endgame while the rest of us are swatting at the swarm of buzzwords. His memories resurfacing, Moonraker reveals himself as Gustav Brandt, formerly the rogue called Libra--and father to Mantis. (Dun dun DUNNN.)
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"Dance, puppet, dance!" cries the Conqueror! |
Next, we rejoin Tony Stark, newly outed as a TRAITOR!, back on Chronopolis among Kang, Mantis, the Professor, Mary Ann and a host of Anachronauts. Kang reveals that their longtime enemy is ready to make his move, years ahead of schedule, and that they must secure this "temporal beachhead" so they can defeat him. (Hey, wait...what are years to time travelers?) Stark returns to Works HQ to find Amanda in the sub-basement. Chased by Stark, she finds freezer units, one of which is occupied by Suzi Endo, which begs the question: who is Cybermancer? That answer must wait until just before cancellation, as Stark coldly kills Amanda then activates Virgil's "Siege Perilous" protocol, synching up with a recently-launched satellite. War Machine flies to The Works while USAgent and Black Widow pursue on land. Meanwhile in Vietnam, Brandt reveals that when he died, the Priests of Pama saved his spirit and grafted it to the body of Moonraker, who in an alternate reality was a trusted member of Force Works. They sent him as a warning against Mantis to be activated when the time was right. When Moonraker crossed from the alternate reality of his creation to this one, his history, including his romantic relationship with Spider-Woman, crossed too. (Say huh?) He says Kang plans to reshape the Earth with his "chronographic powers" which, loosed on Vietnam, caused the young boy's metamorphosis from the last issue. Many will die, but those that mutate like the boy will fill Kang's Anachronaut ranks.
Back at The Works, Century, an alien member of the team, returns from a solo adventure as Rhodey arrives. As before, Stark tries to convince Century how "they've all turned against [him]," but he doesn't take the bait and saves Rachel and Rhodey from being blasted to bits. Century takes Rachel away, and Rhodey transforms into his new alien War Machine suit to take on Stark...and it's on like Donkey Kong. But with uglier art.
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Are Stark and Rhodey in those suits, or did the Hulk take over? Art by Fred Haynes. |
War Machine and Iron Man square off, and Stark is as fierce as Rhodey's ever seen him. Century discovers Amanda's corpse while fighting Cybermancer. He defeats the villainess handily, while Iron Man and War Machine punish each other. Rhodey can't deliver the killing blow because, well, there are still several parts left in the event. Stark lasers him, refraining from killing him (because there are three issues left in the series!) and flies away, while authorizing Virgil to use deadly force to defend itself from completing its duty to activate the Starcore satellite that will bombard the Earth with the same chronographic energies that affected Vietnam. War Machine heals, and after a meeting of the remaining members of the team, he, Scarlet Witch, Fisher Todd and USAgent remain at The Works to shut down the Siege Perilous protocol while Black Widow, Century, Moonraker, Spider-Woman and daughter teleport to rejoin the Avengers.
Stark returns to his secret arctic lair and repairs Machinesmith, whom Masque demolished during her escape. Meanwhile, Masque and the assembled members of Force Works and the Avengers compare revelations, and they communicate via telepresence with the remaining Force Works members who are facing Virgil. Masque alerts them to Stark's arctic bunker and a small team consisting of Crystal, Vision, Century and Moonraker teleports there. Marianne Rodgers is seemingly getting past Stark's emotional barriers at last when the team arrives, setting off the facility's alarms. Unable to penetrate the bunker's defenses, the team is contacted by Marianne, who tells them that Stark has been corrupted for years and that (wait for it...) there was a time when a younger Stark was free of that evil. They teleport back to the Avengers' temporary HQ but Moonraker is no longer with them, kidnapped in mid-journey by Kang and Mantis.
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Eenie, meenie, meinie, moe, which Avenger will be the next to go? |
Back at The Works, Cybermancer and Virgil (revealed as a super-beefy computerized avatar of Stark...egotistical much?) conduct their attack on the remaining Force Works crew. Thanks to using some holographic images to weasel around some traps, and thanks to Plato, another of Stark's computer systems with allegiance to the team, they're able to abort the firing sequence to Kang's chronographic weapon. Everyone commences another round of uninspired bitching about Stark being a traitorous so-and-so. Can we move along now?
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Help! It's a guy with even uglier armor than Rhodey's! |
You bet we'll move along, but it's into space, where the chronographic weapon in Stark's satellite waits to be triggered on-site! Who can activate the weapon from space, you might ask? It's Dirge, one of Kang's mighty minions, wearing a suit of Warwear just like Rhodey. Also on the satellite is Skye, a woman Rhodey met while on vacation, who reveals that her cosmic-level employer foresaw "The Crossing" and wanted him to combat Stark. To that end, when Rhodey lost his regular War Machine armor, she led him to the Eidolon Warwear as a replacement. She expected him to kill Stark but obviously that didn't happen. Dirge delivers a fatal blow to Skye, who survives long enough to see Rhodey use more of the Warwear's abilities to defeat Dirge. His destiny and that of the Warwear are linked, she says, and that destiny lies....IN SPAAAAAAAACE! Ahem. And oh yeah, Rhodey destroys that pesky satellite. The end.
In the last stop before "TimeSlide," Kang and Mantis relentlessly torture Moonraker/Libra at Chronopolis. Older Luna frees him, but Malachi, Tobias, Neut and other Anachronauts bar her exit. She summons her "time-chair" and succeeds in crossing through time to the Avengers, demanding they help Moonraker. Masque knocks her unconscious even as Hercules remembers she was the one who tried to warn them about Stark at the very beginning. When she awakens in Pym's med-lab, Quicksilver and Crystal find her familiar, as do the others. There's no time to rest, however, as Kang's soldiers have followed Luna and Moonraker. Neut cleaves a path deep into the mansion singlehandedly, disemboweling the new Swordsman and knocking the rest of the team on their keisters. Luna throws herself between Neut's energy beam and her parents, taking the brunt of the blow and dying. Neut is ready to kill the team when the revivified, newly-mutated Wasp emerges from her cocoon and takes him down from behind. She's now more wasp than human, but other than that, Hank Pym declares her to be in "perfect physical health--better than [she's] ever been before!" Uh, yeah, but she still looks like a bug, genius!
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The not-so-winsome Wasp, as designed by Joe Madureira. |
As the team licks their wounds, Masque and Black Widow discuss their next move. They have a time portal in the basement, but they can't just go back and kill Tony Stark. Masque suggests the best way to stop a genius like Stark is with another genius. And thence begins the madness that leads to...Teen Tony!
Sorry it's taken so long to get to this point, peoples, but entry number three (the finale, honest!) will be en route soon enough. Who is Kang's mortal enemy? What more madness could Marvel wring out of Earth's mightiest heroes? Next time: Let's do the TimeSlide (again?)!
It's just a jump to the left...
~G.
2.6.11
Storm Warning Epitaph: Firestorm & The DC Reboot
This news was announced this morning in the wake of the upcoming DC whole-line reboot:
THE FURY OF FIRESTORM
By Gail Simone & Ethan Van Sciver (w) / Yildiray Cinar (a)
"Jason Rusch and Ronnie Raymond are two high school students, worlds apart – and now they’re drawn into a conspiracy of super science that bonds them forever in a way they can’t explain or control."
I was looking forward to a Firestorm relaunch in the wake of Brightest Day, but based on the above image, I might be having second thoughts.
First, the pedigree: Gail Simone? Win. I loved her work on Wonder Woman and have heard good things about Secret Six, although I must confess I haven't really read more than one or two issues.
Ethan Van Sciver? It looks like he's doing covers, but I've heard elsewhere he's also contributing to the stories. I love his artwork but I've never seen him write a series that I know of. Still, so far so good.
Yildiray Cinar? Definitely a win. I saw his artwork at his New York Comic Con booth last year and to say it was stunning was an understatement. The guy's definitely got talent. His work is very dynamic and I've been waiting to see him on a project I'm interested in.
Now, for the doubts...and you should see three big ones on the top of the page. Three ugly, ugly costumes for Firestorm--two of which share a Flash/Reverse Flash motif. Apparently either Jason and Ronnie are both able to form a kind of Firestorm variant on their own, or else similar to Brightest Day their appearance changes depending on who's in control. And what's that Firestorm character above them both? A kind of uber-Firestorm? Is it some kind of living version of the matrix that was hinted back in Brightest Day? Or something else?
I'm ambivalent about regressing Ronnie Raymond and Jason Rusch to both being teenagers. Are there good stories that could be told with this paradigm? Probably. Are they going to tell a new origin in the first issue? Is the "countdown" referred to in Brightest Day #24 going to occur? At this point, who can say?
Ah, plenty of questions....and, a few fugly costumes.
~G.
THE FURY OF FIRESTORM
By Gail Simone & Ethan Van Sciver (w) / Yildiray Cinar (a)
"Jason Rusch and Ronnie Raymond are two high school students, worlds apart – and now they’re drawn into a conspiracy of super science that bonds them forever in a way they can’t explain or control."
I was looking forward to a Firestorm relaunch in the wake of Brightest Day, but based on the above image, I might be having second thoughts.
First, the pedigree: Gail Simone? Win. I loved her work on Wonder Woman and have heard good things about Secret Six, although I must confess I haven't really read more than one or two issues.
Ethan Van Sciver? It looks like he's doing covers, but I've heard elsewhere he's also contributing to the stories. I love his artwork but I've never seen him write a series that I know of. Still, so far so good.
Yildiray Cinar? Definitely a win. I saw his artwork at his New York Comic Con booth last year and to say it was stunning was an understatement. The guy's definitely got talent. His work is very dynamic and I've been waiting to see him on a project I'm interested in.
Now, for the doubts...and you should see three big ones on the top of the page. Three ugly, ugly costumes for Firestorm--two of which share a Flash/Reverse Flash motif. Apparently either Jason and Ronnie are both able to form a kind of Firestorm variant on their own, or else similar to Brightest Day their appearance changes depending on who's in control. And what's that Firestorm character above them both? A kind of uber-Firestorm? Is it some kind of living version of the matrix that was hinted back in Brightest Day? Or something else?
I'm ambivalent about regressing Ronnie Raymond and Jason Rusch to both being teenagers. Are there good stories that could be told with this paradigm? Probably. Are they going to tell a new origin in the first issue? Is the "countdown" referred to in Brightest Day #24 going to occur? At this point, who can say?
Ah, plenty of questions....and, a few fugly costumes.
~G.
1.6.11
Behold a Pale Horse, and Its Rider's Name Was DC
(On September's Reboot & Digital Distribution)
It's official, ladies and germs!
For years, DC Comics has been a pillar of stability in the comics community. In the late 1990s, when Marvel Comics was relaunching nearly every title in their line, "Heroes Reborn" this and "Heroes Return" that, when the books with the highest numbering restarted for the sake of new and "hot" creative teams and gimmicks, DC stood firm. Yes, they did have that "Zero Month" shtick in 1994 where all of their books released "Zero" issues meant as jumping-on points, and there was that month in 1998 where every series was numbered 1,000,000 for another line-wide event. Still, DC didn't forsake their history for a fleeting bump in sales figures. Action Comics and Detective Comics hit their 700th and 800th issue milestones. The retitled Adventures of Superman (so done in the wake of John Byrne's 1986 relaunch) even became regular old Superman again after the Infinite Crisis crossover, keeping its numbering in the mid-600s. While it's true that DC did "relaunch" some series started in the eighties or nineties, they kept their "sacred cows" starring their biggest draws intact.
Until now.
Last year, DC seemed poised to give back to fans like Marvel had started to do, taking Wonder Woman and adding the numbering schemes of all the series' various incarnations together to debut a 600th issue. Then--oddly--they began a "new era" of the Wonder Woman character, complete with a new costume and new history, keeping the series numbering with #601-forward. To stave off dire price increases to Marvel and IDW's near-poisonous price point of $3.99 USD, they deployed a radical initiative in January that promised they were "Holding the Line at $2.99," keeping the cost of individual issues low while sacrificing two story pages per issue, replacing them with editorial content. All the while, the specter of digital piracy loomed, with companies flirting with same-day digital sales on select titles. Recently, sales figures suggested that the "Holding the Line" initiative wasn't working. Okay, so what could work to bring DC Comics more in line with, and even surpass, Marvel Comics, its distant first-place competition in the market?
Yesterday, in an article by Brian Truitt of USA Today, DC Comics Chief Creative Officer Geoff Johns and Co-Publishers Dan DiDio and Jim Lee signaled the next major creative shift in the company with both the advent of same-day digital releases and the complete relaunching of the DC Universe in September with the arrival of 52 new first issues. Those 52 new "number ones" will reintroduce core DC characters and concepts and feature art designs by Lee, and the initiative will lead off with Johns and Lee teaming on a new incarnation of the Justice League shipping August 31.
Hence, DC Comics has put themselves squarely at the finish line of a debate they'd been having with Marvel these last two-plus decades. They have effectively one-upped Marvel in the attitude that the only numbers that matter are circulation figures, not the history that comes with 900-plus consecutive issues of a given series. At the same time, they've given a giant, Green Lantern-on-steroids middle finger to already tenuously-positioned retailers across the country with this sweeping strategy designed ostensibly to bring new fans to the realm of comics.
Don't believe me? The case is pretty damning.
Marvel has been, let's face it, horrible to fans both new and old who try to follow their stories. As I've been through in a previous post, they've become renumbering opportunists, adding up the previous volumes of given series to arrive at some magical anniversary number so they can enjoy a momentary sales bump, then turning around and relaunching said title due to a film release or other advantageous situation. In some cases (Black Panther: Man Without Fear, Journey Into Mystery, the upcoming Captain America & Bucky) the books have both relaunched and had their "original" numbering overtaken by another title to split revenue streams and further glut a market already suffering in the wake of piracy issues and the ongoing attempt to compete with other, more popular forms of entertainment (video games, et al). They like to have it both ways, renumbering when it's convenient, as a sales gimmick, as something to promote a new movie, or a new creative team. They've taken what they learned with "Heroes Reborn" (the first, and until now the most egregious use of renumbering at a major comics company) and turned it into an art.
DC Comics has just beaten Marvel at their own game. Now, I understand that this development won't be a total reboot. It will involve some twisting of their cohesive "universe" through the current "event" series Flashpoint, warping various facets of their characters into new "reader-friendly" versions. Although many, many series will conclude long-range storylines with their August issues, the plots of those pre-"Number One Initiative" issues won't be altogether forgotten, if the words of various DC writers on Twitter, such as Detective Comics scribe Scott Snyder, are to be taken as truth. It won't be a wholesale reboot, the like of which Marv Wolfman had suggested follow his landmark Crisis on Infinite Earths maxiseries (that resulted only in the rebooting of Superman and Wonder Woman in the sense he wished, and quasi-rebooting of The Flash and, after a fashion, Green Lantern).
But with the complete renumbering of each DC Comics title from #1, the company removes the explicit sense of history that comes with a title that has had one continuous numbering scheme that reaches back decades. It used to be that high numbering was a sign of establishment, of a series whose pedigree was impeccable. A title in the 1960s numbered in the single digits or in the teens was an upstart, not to be trusted, but one numbering in the hundreds had weathered the storm, experienced highs and lows and emerged unscathed, and perhaps even richer for the experience. As I'm going to get into in a subsequent article, that attitude shifted with both the advent of the comics direct market and the concept of the limited series. Again it shifted with the "event" series, the proliferation of the crossover, and the overcommercialization of product in the 1990s from which the market still hasn't recovered. The flood of new #1 issues that began in the 1980s and escalated through the 1990s hasn't stopped, and this move by DC may prove the most disastrous of them all.
"From the company that brought you 'The Death of Superman' comes the event to finish off brick-and-mortar comics shops like Adventures of Superman #500 nearly did in 1993..."
You might look at the argument presented thus far and think, "So what?" So what if DC Comics is relegating the history of their characters to the Recycle Bin? A new number one's a fresh start. But what about 52 new starts all coming at you at once? That's intimidating enough for a fan or someone who's just coming into the hobby! 52 new books means that, on average, thirteen new first issues will hit the stands each week in September. But no, you haven't tumbled to the real imminent threat out there. The one that decides if your local comic shop will be a viable place to purchase your favorite series.
Your local comic shop has a difficult enough time gauging the interest of the dozen-or-so new #1 issues that each of the big companies offers in their solicitations every month. Now, DC Comics will offer, in just a few short weeks, a catalogue devoted almost entirely to first issues! How will they react? It's a fair point to express that many retailers over-ordered books in the 1990s, like X-Men #1, X-Force #1, Spider-Man #1, and even Adventures of Superman #500--that white-polybagged "Return of Superman" issue of which I spoke. If retailers underestimate demand, then they are left with a host of unsatisfied customers to whom they couldn't supply the issue(s) desired, who might shop elsewhere or else totally miss out on an issue and hence an entire series (or two, or three, etc.). If they overestimate demand and order too many copies, then they're left with inventory they can't sell, and they lose money. If that amounts to only a couple of books each month, then really that's not too bad and the store can recoup their losses elsewhere. They can also adjust their orders on upcoming books with their distributor, generally up to three weeks before the next issue ships.
Remember that a lot of comic shops went belly-up in the 1990s due to a number of things, but one of the big contributors was over-ordering during the speculator boom. Retailers were left with too much product they couldn't sell--the end. Most of the time, that was a series of decisions made over a long period of time. What would happen if, over a month's time, a comic shop spent an exorbitant amount of money, ordering a large number of books they suspected they might sell as result of the huge media push related to the new initiative--only to find that the demand wasn't there?
Catastrophe!
Especially if no series currently exists for the new #1s that stand to be introduced in September, retailers wouldn't be able to accurately predict the number of copies they need. Again, you might ask, well, so what? As I mentioned before, DC's done the line-wide issue renumbering on two separate occasions (#0 and #1,000,000). And one of those events in particular was designed similarly to this one, as a jump-on point for new readers. But both those events took place in a stronger sales climate. The first was at the middle of the 1990s speculator boom. The second, well, it had its share of issues that functioned as series finales (Young Heroes In Love, Chase, others) but was largely in service to the DC One Million event. This time? Retailers are in a tough situation from all sides, with even fiercer competition from video games and other forms of entertainment. Circulation figures have fallen and prices have risen precipitously.
And then, also as mentioned, DC and other companies are feeling the squeeze from digital piracy, with the majority of their lines available online for free even before the regular date of release. (It even happened with Blackest Night #6, a book that was shipped early to retailers but wasn't to be made available for a week. Oops.) As result, companies have beefed up their online presence on sites such as Comixology and iTunes. They've made available apps for the iPad and smartphones like the iPhone and Android OS. Both Marvel and DC previously flirted with same-day digital releases, on Invincible Iron Man Annual #1 and Batman Beyond as well as some others.
Although regular book sales don't (quite) have the same problem with piracy as comics, booksellers such as Amazon have already made giant strides with the digital format, providing content for the Kindle and other similar products. Two weeks ago, Amazon made headlines by announcing for the first time ever, e-books are now outselling print books on their site. This trend is only expected to continue over coming months and years. Hence, companies that embrace digital distribution models are viewed as embracing the future. And DC Comics' decision to wholly do so marks them, and not Marvel, as trailblazers. However, this new trend--together with DC's massive print distribution blunder of flooding the market with #1s--also may mean the end of traditional distribution channels.
It's the perfect storm. Brick-and-mortar comic shops are limited by what they can order and what they think they can sell, while digital distributors have as many copies as potential readers desire and there's no such thing as lost inventory. And given that the conversion to digital distribution in the book market is happening much faster than the experts predicted, it makes sense that it will be the distribution path for comics. It's true that Diamond, distributor to all comic shops, is endeavoring to offer digital distribution in shops to compete with digital-only venues (i.e. websites). I'm not quite sure how such a business model can be effective, especially in such desperate economic times.
Marvel Comics is lagging behind in today's comics market in all ways but market share. Their comics are nearly the most expensive out there, and yet they flood the market with so many titles they are still not only able to compete, but win. And still, they have chosen to copy the activities of the runner-up, having also recently reduced their $2.99 titles to twenty pages of story without making a formal announcement. No doubt, the question now becomes not whether they will adopt DC Comics' policy of same-day digital distribution, but how soon? When they do, it's only a matter of time before the print version of all comics becomes a novelty item, beyond even the specialty items they have now become.
As the book market in general constricts, as booksellers like Borders fail (and even Barnes & Noble gets a takeover bid), how can the smaller comics retailers compete? Will Diamond Digital be able to stem the tide? How will the graphic novel market be impacted by these sweeping changes? Something tells me, even a year from now, we'll be looking at a very, very different comics market than we have today.
Don't misunderstand me. It seems vital now that comics' distribution channels change to save the industry as regular books' distribution channels also change. But just think about what such changes will mean for the larger industry--comics retailers, printers, mail carriers, all the way down the line. Will saving the comics industry mean doom for everything else surrounding it?
I'd love to know your thoughts. Am I acting too much like Chicken Little, or am I on-point, or am I not thinking drastic enough?
~G.
31.5.11
Sketch Time: Meggan (Pittsburgh Comicon 2011)
I'm still hard at work on my "Crossing" piece, so I thought I'd show you all yet another of the sketches I've received recently. This one's from Pittsburgh Comicon 2011 and is courtesy artist Joe Pekar. Keeping up with my theme of non-standard pieces (i.e. characters not everyone would ask for), here's Meggan, girlfriend (or is that wife?) to Captain Britain, and Excalibur teammate. Done in watercolor, it's all I could have asked for! So glad I asked for this one! What do you think, sirs?
~G.
~G.
28.5.11
Quick Reviews: Alpha Flight #0.1, Incredible Hulks #629, Skaar #3
A round of much-delayed, eagerly-awaited reviews, mes amis!
Alpha Flight #0.1 - Marvel Comics, $2.99
By Fred Van Lente, Greg Pak, Ben Oliver & Frank Martin
The eight-issue miniseries begins in earnest in a few weeks, but Alpha Flight #0.1, which shipped May 18, serves as a terrific introduction to the characters and concepts for the uninitiated. The twenty-page story, behind a cover by Phil Jiminez that shows nearly all the original Alpha Flight cast from their 1980s heyday, introduces the ensemble, as well as some other peripheral cast from the "good old days." It's true what writer Fred Van Lente said: this series marks the first time since the early days of John Byrne and Bill Mantlo that virtually the entire group has been the focus. Guardian, Vindicator, Sasquatch, Shaman, Marrina, Northstar and Aurora are all here, and purely from a nostalgic point of view, seeing them together just feels good.
Van Lente and Pak don't let nostalgia carry the story, however, wisely involving the Alphans in a plot to interrupt Canadian elections, ostensibly planned by someone very familiar to the title's middle years. Both that villainess and the specter of the elections themselves are portents of bigger things sure to erupt in the series proper. The only drawback in the book is in the artistic layouts by Ben Oliver. While the figures themselves look great, Oliver's panel shape--always jagged, seldom having 90 degree angles--are a distraction at best and a source of vertigo at worst. I must say I'm glad the miniseries itself will be illustrated by another artist (Dale Eaglesham).
I'm definitely expecting the storyline to ramp up with the actual first issue in June, but this is still a solid introduction with an accessible story, on-point characterization, and above-average artwork. Do yourself a favor and Buy It.
The Incredible Hulks #629 - Marvel Comics, $2.99
By Greg Pak, Tom Grummett, Cory Hamscher, Rick Magyar & Edgar Delgado
For the conclusion of Greg Pak's penultimate arc, "The Spy Who Smashed Me," which had been a surprisingly off-beat and humorous arc in its previous three sections, this story takes a decidedly standard superheroic slant. Behind another generic cover, this time by fan-favorite Frank Cho, "License to Smash" nonetheless provides an emotional finale that serves as setup for "Heart of the Monster," beginning next issue.
When you're talking about emotional Hulk stories, it seems the powers-that-be can seldom do one without involving Betty Ross. It's her eyes through which we're supposed to see Banner and the Hulk this issue. However, Betty here bears little, if any, resemblance to the same strong character of Peter David's tenure on the book. Becoming Red She-Hulk appears to have split the character into her strong and weak personality halves, with neither one of them showing exactly why Bruce carries such a torch for her. And maybe that's the point, right?
Arch-foe Tyrannus descends into his traditional mad brand of villainy for this final chapter, leaving the real emotional arc to be solved between Bruce/Hulk and Betty/Red She-Hulk. True, we do finally see what's in the urn and that particular conclusion is perplexing (and may provide a hint to next issue's story). If nothing else, Greg Pak has provided an excellent emotional underpinning for his final arc with this issue's soft conclusion. Tom Grummett finishes the storyline in his same standard superheroic style, which is still far above most else out there. While still not as strong as the previous three parts, you should still definitely Read It.
Skaar: King of the Savage Land #3 - Marvel Comics, $2.99
By Rob Williams, Brian Ching, Rick Ketcham & Guru eFX
The Savage Land adventure of Skaar, Son of Hulk, continues as he teams with Ka-Zar and delves deeper into the Designer's mysteries while encountering more of the area's unusual inhabitants. Rob Williams continues the story which seems to have less and less to do with the titular character and more to do with facets of Marvel continuity the writer wants to play with "just because." You can see one of the characters in question--Kid Colt--on the issue's cover, and while he looks a little different inside, he's still symptomatic of the "anything that will stick"-ness of the narrative.
On the plus side, Brian Ching's artwork continues to impress. He's really right at home in the jungle landscapes, drawing monsters of all shapes and sizes, from Skaar himself to dinosaurs. Guru-eFX similarly brings the pages to life with their colors. Still, I'm severely losing interest in the narrative as Skaar continues to be moved around like a pawn on a chessboard. I don't have much hope the remaining two issues will turn things around. Unless you have nothing better to read, I'm firmly of the opinion you should Skip It.
~G.
Alpha Flight #0.1 - Marvel Comics, $2.99
By Fred Van Lente, Greg Pak, Ben Oliver & Frank Martin
The eight-issue miniseries begins in earnest in a few weeks, but Alpha Flight #0.1, which shipped May 18, serves as a terrific introduction to the characters and concepts for the uninitiated. The twenty-page story, behind a cover by Phil Jiminez that shows nearly all the original Alpha Flight cast from their 1980s heyday, introduces the ensemble, as well as some other peripheral cast from the "good old days." It's true what writer Fred Van Lente said: this series marks the first time since the early days of John Byrne and Bill Mantlo that virtually the entire group has been the focus. Guardian, Vindicator, Sasquatch, Shaman, Marrina, Northstar and Aurora are all here, and purely from a nostalgic point of view, seeing them together just feels good.
Van Lente and Pak don't let nostalgia carry the story, however, wisely involving the Alphans in a plot to interrupt Canadian elections, ostensibly planned by someone very familiar to the title's middle years. Both that villainess and the specter of the elections themselves are portents of bigger things sure to erupt in the series proper. The only drawback in the book is in the artistic layouts by Ben Oliver. While the figures themselves look great, Oliver's panel shape--always jagged, seldom having 90 degree angles--are a distraction at best and a source of vertigo at worst. I must say I'm glad the miniseries itself will be illustrated by another artist (Dale Eaglesham).
I'm definitely expecting the storyline to ramp up with the actual first issue in June, but this is still a solid introduction with an accessible story, on-point characterization, and above-average artwork. Do yourself a favor and Buy It.
The Incredible Hulks #629 - Marvel Comics, $2.99
By Greg Pak, Tom Grummett, Cory Hamscher, Rick Magyar & Edgar Delgado
For the conclusion of Greg Pak's penultimate arc, "The Spy Who Smashed Me," which had been a surprisingly off-beat and humorous arc in its previous three sections, this story takes a decidedly standard superheroic slant. Behind another generic cover, this time by fan-favorite Frank Cho, "License to Smash" nonetheless provides an emotional finale that serves as setup for "Heart of the Monster," beginning next issue.
When you're talking about emotional Hulk stories, it seems the powers-that-be can seldom do one without involving Betty Ross. It's her eyes through which we're supposed to see Banner and the Hulk this issue. However, Betty here bears little, if any, resemblance to the same strong character of Peter David's tenure on the book. Becoming Red She-Hulk appears to have split the character into her strong and weak personality halves, with neither one of them showing exactly why Bruce carries such a torch for her. And maybe that's the point, right?
Arch-foe Tyrannus descends into his traditional mad brand of villainy for this final chapter, leaving the real emotional arc to be solved between Bruce/Hulk and Betty/Red She-Hulk. True, we do finally see what's in the urn and that particular conclusion is perplexing (and may provide a hint to next issue's story). If nothing else, Greg Pak has provided an excellent emotional underpinning for his final arc with this issue's soft conclusion. Tom Grummett finishes the storyline in his same standard superheroic style, which is still far above most else out there. While still not as strong as the previous three parts, you should still definitely Read It.
Skaar: King of the Savage Land #3 - Marvel Comics, $2.99
By Rob Williams, Brian Ching, Rick Ketcham & Guru eFX
The Savage Land adventure of Skaar, Son of Hulk, continues as he teams with Ka-Zar and delves deeper into the Designer's mysteries while encountering more of the area's unusual inhabitants. Rob Williams continues the story which seems to have less and less to do with the titular character and more to do with facets of Marvel continuity the writer wants to play with "just because." You can see one of the characters in question--Kid Colt--on the issue's cover, and while he looks a little different inside, he's still symptomatic of the "anything that will stick"-ness of the narrative.
On the plus side, Brian Ching's artwork continues to impress. He's really right at home in the jungle landscapes, drawing monsters of all shapes and sizes, from Skaar himself to dinosaurs. Guru-eFX similarly brings the pages to life with their colors. Still, I'm severely losing interest in the narrative as Skaar continues to be moved around like a pawn on a chessboard. I don't have much hope the remaining two issues will turn things around. Unless you have nothing better to read, I'm firmly of the opinion you should Skip It.
~G.
26.5.11
Storm Warning 7: Shadowstorm Was a Wuss, Dude (Blackest Night/Brightest Day)
Are we all here? I'm sure you were all beginning to worry...
Welcome back, my friends, to the show that never ends. I know it's been a long time since the previous installment of this series, but sometimes, that's the way things go. I always intended to come back at the conclusion of Brightest Day and summarize my thoughts on the most recent iteration of everyone's favorite nuclear hero. In the previous segment, I took you through the death of Ronald Raymond, the introduction of Jason Rusch, and the return of Professor Martin Stein to a prominent role in the Firestorm matrix. This time out, we're picking up Firestorm's activities in two fixed-length series, Blackest Night (2009's runaway hit "event" series by DC) and its direct continuation, Brightest Day (which just finished a few weeks ago).
It's worth noting early on that Geoff Johns is a master of DC Comics' long and varied history. He began his career as production assistant to Richard Donner (yes, that Superman director-guy) and soon started writing for DC on books like Stars and S.T.R.I.P.E. and JSA. After briefly sojourning down the street at Marvel, he returned to DC where he's been ever since, having written Flash (both Wally West, in the wake of longtime scribe Mark Waid), Green Lantern, Teen Titans, and several "event" series like Infinite Crisis, 52, and the two series I'm about to discuss here. And, back in 2003, he pitched a Firestorm revival that interestingly fused Ron Raymond with his "brainy ex-girlfriend," a take that was tabled in favor of Mike Carey and Lewis LaRosa's version (which I touched upon a few episodes ago). Perhaps that version was a conscious or unconscious inspiration for the latter-day merging of Jason Rusch and Gehenna that opened Blackest Night.
The crossover that set in motion everything about Firestorm that continues to date is to a vast degree a Green Lantern story that spilled over to the rest of the DC Universe. Everyone who's familiar with DC lore knows the Lanterns' oath: "In brightest day, in blackest night..." and Johns parlayed the oath into a prophecy of sorts. Not only that, he took the previously-established Star Sapphires and Yellow Lanterns and wrapped them with the Green Lanterns into a color spectrum of powered beings. In the lead-up to Blackest Night Johns introduced the other corps to both explode the Green Lantern brand and set the stage for the massive storyline to come. You don't need to know the gory details for the purposes of this article. Just know that an old Green Lantern enemy, Nekron, captured the Anti-Monitor (the big bad from 1985's Crisis on Infinite Earths) and used him to establish a beachhead of power in this reality in the form of a Black Lantern whose rings infected dead bodies and reanimated them, using their memories to draw in the living and generate more power. When the rings and lantern were sufficiently powered, Nekron would again rise. Easy peasy?
For the components of Firestorm--Jason Rusch, Gehenna Hewitt and Martin Stein--the return of the dead obviously spelled the return of Ron Raymond. Meeting at Ron's grave in Pittsburgh, they discussed Ron while the rain fell and plants mysteriously died. The rings came later in the first issue, and with them, Ron came back as a Black Lantern Firestorm. In the next issue, he appeared in a Black Lantern version of the Justice League who battled Green Lantern Hal Jordan and the Flash (Barry Allen). The third issue (which features a stunning Firestorm-centric variant cover by Ethan Van Sciver) would easily be the most essential to Firestorm fans for its momentous events. Jason and Gehenna quarreled over her thoughts on starting a family, which Jason "overheard" while they were merged as Firestorm. Jason thought they were too young to be having such ideas, and Gehenna countered by suggesting they no longer be Firestorm anymore. (Be careful what you wish for, Gen.)
Summoned by an emergency signal at the Justice League's Washington, DC headquarters, Jason and Gehenna arrived as Firestorm and talked with Mera, Aquaman's wife, about the emerging chaos. Green Lantern, Flash, Atom and a group of Indigo Lanterns arrived and compared notes about the Black Lanterns before the BL League arrived. Then, BL Firestorm fissioned his counterpart, removing Jason and Gehenna. He merged with Jason, who watched in horror as "Ron" turned his girlfriend to salt, killing her. The strength of his emotions for Gehenna powered the lantern considerably.
In the fourth issue, Jason gained control over BL Firestorm to warn Flash to evacuate the Earth, but soon "Ron" reasserted himself. Jason remained trapped within BL Firestorm for virtually the rest of the story, through the return of Nekron, the introduction of a "rainbow corps" of Lanterns and the White Lantern Entity, and the revelation that life in the DC Universe originated on Earth. Finally, the heroes formed a "White Lantern Corps" and defeated Nekron by using the rings to resurrect a number of characters, from Nekron's herald Black Hand, to the Anti-Monitor, to several heroes and villains including Firestorm, now comprised of Ron Raymond and Jason Rusch.
The new status quo of all the resurrected characters became the thrust of the next series, the 24-issue Brightest Day. Was there a method to the White Lantern's madness? Who, if any of those resurrected, would become the Guardian of Life? Would the heroes and villains permanently be returned to life, or was it a temporary situation? As in Blackest Night, there's much more to this story than just Firestorm's involvement, but I'll only discuss the portions germane to our guy(s).
Brightest Day began for Firestorm with the wake of Gehenna Hewitt, attended by Professor Stein, Ray Palmer (the Atom), Jason Rusch, and members of Jason's family. Ron didn't attend the funeral, missing appointments to file paperwork with the Justice League to renew his legal status in favor of partying with friends at Pittsburgh University. He also no longer remembered anything that happened after his death at the hands of the Shadow Thief (which meant he didn't remember meeting Jason). Arriving at the wake, Ron talked with Jason but a shouting match erupted, resulting in merging into Firestorm--a Firestorm who could not fission!
At Pittsburgh University, Professors Stein and Palmer met to diagnose the problem, and Palmer reduced in size to infiltrate the matrix and discover the source of Firestorm's new instability. He caused an explosion that successfully fissioned them, and Ron and Jason awoke in the hospital, where Stein made it imperative that they remain separate. Ron, who actually did remember some of what had happened when the Black Lantern possessed him, found himself haunted by a salt effigy of Gehenna. Similarly, a disembodied voice nagged at Jason before a crane nearby turned into bubble gum, prompting a disaster that caused him to again become Firestorm. With a hungover Ron in control, the hero vomited a black ichor on someone he saved from the disaster. Ron apologized to Jason and admits he remembered when BL Firestorm killed Gehenna, even as they reached the conclusion something else was in the matrix with them.
Ron and Jason went to the Professor, then, who ominously hinted at a "third and final stage of Firestorm." Before he could elaborate, the White Lantern entity showed them its wisdom: "You need to study," it told Ronald, while it told Jason "You need to get your head out of the books." It told them they needed to learn from each other so they could stop "him"--the mysterious third being in the matrix. During a series of tests back at Pittsburgh University, Professor Stein put forth his theory that the Jason/Ron merger made Firestorm more powerful, but also more unstable. In a bit of retroactive continuity, Stein told Firestorm that his original experiments aimed at finding the spark that led to the Big Bang, and that's what Firestorm is: the universe's cosmic reset button. And the more agitated Ron and Jason become, the more likely the Big Bang would again occur, This is all the third entity needs to know to break free, fissioning Firestorm and rendering the Professor unconscious before standing revealed as the Black Lantern Firestorm, henceforth called Deathstorm.
Deathstorm wasted no time in drawing Professor Stein into itself along with Jason's father Alvin before finding its way, Firestorm in tow, to Star City and the White Lantern. It infected the lantern to be able to lift it so that it might bring it to its new master, who also said that Deathstorm must bring him/it an army and stop the Entity's replacement from being chosen. To that end, the creature recreated Black Lantern duplicates of all those the Entity resurrected, and left. Firestorm traveled to the JLA Watchtower in hopes that scientists Dr. Mid-Nite and Atom might help stabilize the matrix, while Deathstorm toys with Stein and Alvin Rusch, tempting them to kill themselves in hopes his threat would perish. Anger got the better of Jason and Ron, however, causing an explosion that left them as Firestorm in an apparent black void. Did they end the universe?
Not so fast! Shedding some proverbial light on the subject, Ron found they were amid a swarm of Shadow Demons, which meant they did not end the universe, but instead had been transported to another one: the Anti-Matter Universe, home of the Anti-Monitor and the Weaponers of Qward. After briefly intervening in a battle between some Green Lanterns, Sinestro and the Weaponers, Firestorm finally found Deathstorm, the Black Lantern Corps, and their master...the Anti-Monitor.
Now, everything to this point in Brightest Day was a prologue. We had solid character development and an interesting throughline that proved Firestorm was among the most important characters in the series, but in issue #22, he finally took the spotlight in an epic battle with the Anti-Monitor. It's a true masterpiece in virtually every sense of the word and one that all Firestorm fans should read. Ron and Jason finally work together to save all life--as well as their "fathers"--from the clutches of ultimate evil and death. Unfortunately, while Firestorm was able to save the White Lantern and destroy the Black Lanterns, he was not able to save Martin Stein, who sacrificed himself to save Ron and Jason from Deathstorm's transmuting power. Turned into salt the same as Gehenna, he bequeathed his final wishes to the two men, "knowing" that Jason would be a better partner to Ron than he was. His life now returned, Firestorm found himself transported to the Star City forest, where Deadman demanded the Lantern, and the Lantern wished to be given to him.
The final two issues really have very little to do with Firestorm, his story all but fulfilled in the previous story. All of the resurrected united at the Star City forest, where Deadman told them they were there to combat the "dark avatar," in actuality the Swamp Thing, the former Earth elemental whose body was possessed by the power of the Black Lantern. The five key heroes--Firestorm, Aquaman, Hawkman, Hawkgirl, and the Martian Manhunter--all transformed into elementals to form a last line of defense until the Entity's replacement could assume his role. Under a tree in that forest was--miraculously--the body of Alec Holland, the man whose consciousness had been imprinted upon the Green to become the original Swamp Thing. Now, Holland literally became the Swamp Thing and combined with the elementals to banish the dark avatar. At the end of the battle, most of the elementals returned to their normal forms and went their separate ways.
Ominously, as the main Brightest Day saga ended, a new era dawned for Ron and Jason. Upon examining some tests designed by the Professor, Jason found that the Anti-Monitor's blasts had caused a change in the Firestorm matrix, beginning a countdown to the detonation they all feared. That's where we leave our heroes until their next appearance.
The new merger, as previously glimpsed in Firestorm #9-13, was similar to the Jason/Professor merger of Stuart Moore's run in that it combined elements of both the "new era" (Jason) with the "classic era" (Ron) in hopes of pulling both new and old fans along--a smart move. This time, however, Firestorm returned to being about the "dumb jock" fused with the "intellectual" that fell in line with the original Conway/Milgrom iteration, getting away from the "dual intellectual" bit of Moore/Igle vintage. Only this time, due to popular demand, DC forsook one type of comic book minority (the fifty or sixty-something Stein) for another (the black Jason). They even went so far as to kill Martin Stein--my favorite character in the mythos--and with his parting words Geoff Johns and Brightest Day co-writer Peter J. Tomasi hit fans over the head with how much better a partner Jason would be than he was. It was one powerful line of dialogue for its sheer wrongheadedness, a moment where it felt less like the character saying the words and more like the writers forcing them in.
Instead of getting a "voice of experience" in the dynamic, we now have two guys who are similar enough in age whose key differences are in intelligence and skin color. (Is anyone other than Kurt Busiek really going to call Ron Raymond "experienced"?) In selecting a Jason/Ron merger, Johns and Tomasi established a racial dynamic--or, at the very least, a stereotypical one where Jason functioned as the "angry black man" and Ron as a similarly intolerant white man who found themselves at odds, sharing the body and power of Firestorm. (It's not the first time such a dynamic has been used--anyone remember that Blaxploitation film, "The Thing With Two Heads"?) The point was even made explicit by Deathstorm in one of his early non-appearances.
I do enjoy the dramatic tension of having Ron and Jason at odds, and I do want it sticking around, but it goes without saying I want the racial undercurrent to be curtailed. The light antagonism is a plot point that didn't gain much traction in previous Firestorm series, with perhaps its strongest showings in John Ostrander's first issues (wherein Ron and the Professor were at odds over the ban on superheroes during the Legends crossover) and early in Dan Jolley's tenure, where Jason got to pick his partners in the matrix.
In some ways, the infighting between Ron and Jason highlights a key distinction and an evolution in Firestorm that I'd love to explore in deeper detail. Subtextually, the original relationship between Martin Stein and Ron Raymond was always depicted as one between a father and son, with Martin as the father that Ed Raymond couldn't be. Johns and Tomasi made that relationship explicit with Stein's death, while the entire Brightest Day arc functioned to establish a different dynamic between Ron and Jason Rusch. Since the Professor mentored them both, one can easily read the characters' antagonism and their very relationship as being between brothers--moreover, brothers who have experienced the loss of their "father." An intriguing shift, to be sure, and one that I hope DC will investigate in issues to come.
As far as villains go, Deathstorm seems like another "dark mirror" character in a long line, which is interesting since Firestorm already had one in Shadowstorm. It's true, he's all but forgotten--didn't he die in Captain Atom?--but since when did that ever stop a character from returning? While Shadowstorm was often too straight-faced, too stoic, too eeeeeeevil, Deathstorm was too often off in the other direction, with his deliberately horrible "surfer dude" dialect. I hear he'll be back, but I'm not so sure I like that prospect.
So, where are we heading from here? I keep hearing September will be rife with new first issues and it's obviously when the new Aquaman (by Geoff Johns & Ivan Reis) and Hawkman (by James Robinson & Rags Morales) series will debut. However, DC's made definite plans for Firestorm as well, and I wonder if we won't see a brand-new Firestorm #1 in September as well. At the very least, we should soon see him in a book like Justice League of America or somewhere his new, post-Brightest Day status quo can be explored. Who could be writing the book, if Firestorm returns to a solo series? I don't know, but you can bet that you'll see an interview with the new guy (or girl) either here, courtesy me, or at FirestormFan.com, courtesy Shag, that site's owner. I'm feeling good about this.
~G.
Welcome back, my friends, to the show that never ends. I know it's been a long time since the previous installment of this series, but sometimes, that's the way things go. I always intended to come back at the conclusion of Brightest Day and summarize my thoughts on the most recent iteration of everyone's favorite nuclear hero. In the previous segment, I took you through the death of Ronald Raymond, the introduction of Jason Rusch, and the return of Professor Martin Stein to a prominent role in the Firestorm matrix. This time out, we're picking up Firestorm's activities in two fixed-length series, Blackest Night (2009's runaway hit "event" series by DC) and its direct continuation, Brightest Day (which just finished a few weeks ago).
![]() |
Black Lantern Firestorm. Original design by Ethan Van Sciver. |
It's worth noting early on that Geoff Johns is a master of DC Comics' long and varied history. He began his career as production assistant to Richard Donner (yes, that Superman director-guy) and soon started writing for DC on books like Stars and S.T.R.I.P.E. and JSA. After briefly sojourning down the street at Marvel, he returned to DC where he's been ever since, having written Flash (both Wally West, in the wake of longtime scribe Mark Waid), Green Lantern, Teen Titans, and several "event" series like Infinite Crisis, 52, and the two series I'm about to discuss here. And, back in 2003, he pitched a Firestorm revival that interestingly fused Ron Raymond with his "brainy ex-girlfriend," a take that was tabled in favor of Mike Carey and Lewis LaRosa's version (which I touched upon a few episodes ago). Perhaps that version was a conscious or unconscious inspiration for the latter-day merging of Jason Rusch and Gehenna that opened Blackest Night.
The crossover that set in motion everything about Firestorm that continues to date is to a vast degree a Green Lantern story that spilled over to the rest of the DC Universe. Everyone who's familiar with DC lore knows the Lanterns' oath: "In brightest day, in blackest night..." and Johns parlayed the oath into a prophecy of sorts. Not only that, he took the previously-established Star Sapphires and Yellow Lanterns and wrapped them with the Green Lanterns into a color spectrum of powered beings. In the lead-up to Blackest Night Johns introduced the other corps to both explode the Green Lantern brand and set the stage for the massive storyline to come. You don't need to know the gory details for the purposes of this article. Just know that an old Green Lantern enemy, Nekron, captured the Anti-Monitor (the big bad from 1985's Crisis on Infinite Earths) and used him to establish a beachhead of power in this reality in the form of a Black Lantern whose rings infected dead bodies and reanimated them, using their memories to draw in the living and generate more power. When the rings and lantern were sufficiently powered, Nekron would again rise. Easy peasy?
![]() |
Firestorm, surrounded by his oldest foes all as Black Lanterns. |
For the components of Firestorm--Jason Rusch, Gehenna Hewitt and Martin Stein--the return of the dead obviously spelled the return of Ron Raymond. Meeting at Ron's grave in Pittsburgh, they discussed Ron while the rain fell and plants mysteriously died. The rings came later in the first issue, and with them, Ron came back as a Black Lantern Firestorm. In the next issue, he appeared in a Black Lantern version of the Justice League who battled Green Lantern Hal Jordan and the Flash (Barry Allen). The third issue (which features a stunning Firestorm-centric variant cover by Ethan Van Sciver) would easily be the most essential to Firestorm fans for its momentous events. Jason and Gehenna quarreled over her thoughts on starting a family, which Jason "overheard" while they were merged as Firestorm. Jason thought they were too young to be having such ideas, and Gehenna countered by suggesting they no longer be Firestorm anymore. (Be careful what you wish for, Gen.)
Summoned by an emergency signal at the Justice League's Washington, DC headquarters, Jason and Gehenna arrived as Firestorm and talked with Mera, Aquaman's wife, about the emerging chaos. Green Lantern, Flash, Atom and a group of Indigo Lanterns arrived and compared notes about the Black Lanterns before the BL League arrived. Then, BL Firestorm fissioned his counterpart, removing Jason and Gehenna. He merged with Jason, who watched in horror as "Ron" turned his girlfriend to salt, killing her. The strength of his emotions for Gehenna powered the lantern considerably.
In the fourth issue, Jason gained control over BL Firestorm to warn Flash to evacuate the Earth, but soon "Ron" reasserted himself. Jason remained trapped within BL Firestorm for virtually the rest of the story, through the return of Nekron, the introduction of a "rainbow corps" of Lanterns and the White Lantern Entity, and the revelation that life in the DC Universe originated on Earth. Finally, the heroes formed a "White Lantern Corps" and defeated Nekron by using the rings to resurrect a number of characters, from Nekron's herald Black Hand, to the Anti-Monitor, to several heroes and villains including Firestorm, now comprised of Ron Raymond and Jason Rusch.
![]() |
Firestorm and the Atom, together! Art by Ivan Reis, from Brightest Day #2. |
The new status quo of all the resurrected characters became the thrust of the next series, the 24-issue Brightest Day. Was there a method to the White Lantern's madness? Who, if any of those resurrected, would become the Guardian of Life? Would the heroes and villains permanently be returned to life, or was it a temporary situation? As in Blackest Night, there's much more to this story than just Firestorm's involvement, but I'll only discuss the portions germane to our guy(s).
Brightest Day began for Firestorm with the wake of Gehenna Hewitt, attended by Professor Stein, Ray Palmer (the Atom), Jason Rusch, and members of Jason's family. Ron didn't attend the funeral, missing appointments to file paperwork with the Justice League to renew his legal status in favor of partying with friends at Pittsburgh University. He also no longer remembered anything that happened after his death at the hands of the Shadow Thief (which meant he didn't remember meeting Jason). Arriving at the wake, Ron talked with Jason but a shouting match erupted, resulting in merging into Firestorm--a Firestorm who could not fission!
At Pittsburgh University, Professors Stein and Palmer met to diagnose the problem, and Palmer reduced in size to infiltrate the matrix and discover the source of Firestorm's new instability. He caused an explosion that successfully fissioned them, and Ron and Jason awoke in the hospital, where Stein made it imperative that they remain separate. Ron, who actually did remember some of what had happened when the Black Lantern possessed him, found himself haunted by a salt effigy of Gehenna. Similarly, a disembodied voice nagged at Jason before a crane nearby turned into bubble gum, prompting a disaster that caused him to again become Firestorm. With a hungover Ron in control, the hero vomited a black ichor on someone he saved from the disaster. Ron apologized to Jason and admits he remembered when BL Firestorm killed Gehenna, even as they reached the conclusion something else was in the matrix with them.
![]() |
Firestorm learns his final (?) fate. Cover to Brightest Day #10. |
Ron and Jason went to the Professor, then, who ominously hinted at a "third and final stage of Firestorm." Before he could elaborate, the White Lantern entity showed them its wisdom: "You need to study," it told Ronald, while it told Jason "You need to get your head out of the books." It told them they needed to learn from each other so they could stop "him"--the mysterious third being in the matrix. During a series of tests back at Pittsburgh University, Professor Stein put forth his theory that the Jason/Ron merger made Firestorm more powerful, but also more unstable. In a bit of retroactive continuity, Stein told Firestorm that his original experiments aimed at finding the spark that led to the Big Bang, and that's what Firestorm is: the universe's cosmic reset button. And the more agitated Ron and Jason become, the more likely the Big Bang would again occur, This is all the third entity needs to know to break free, fissioning Firestorm and rendering the Professor unconscious before standing revealed as the Black Lantern Firestorm, henceforth called Deathstorm.
Deathstorm wasted no time in drawing Professor Stein into itself along with Jason's father Alvin before finding its way, Firestorm in tow, to Star City and the White Lantern. It infected the lantern to be able to lift it so that it might bring it to its new master, who also said that Deathstorm must bring him/it an army and stop the Entity's replacement from being chosen. To that end, the creature recreated Black Lantern duplicates of all those the Entity resurrected, and left. Firestorm traveled to the JLA Watchtower in hopes that scientists Dr. Mid-Nite and Atom might help stabilize the matrix, while Deathstorm toys with Stein and Alvin Rusch, tempting them to kill themselves in hopes his threat would perish. Anger got the better of Jason and Ron, however, causing an explosion that left them as Firestorm in an apparent black void. Did they end the universe?
![]() |
Ah! That classic logo! A terrific cover for Brightest Day #16. |
Not so fast! Shedding some proverbial light on the subject, Ron found they were amid a swarm of Shadow Demons, which meant they did not end the universe, but instead had been transported to another one: the Anti-Matter Universe, home of the Anti-Monitor and the Weaponers of Qward. After briefly intervening in a battle between some Green Lanterns, Sinestro and the Weaponers, Firestorm finally found Deathstorm, the Black Lantern Corps, and their master...the Anti-Monitor.
Now, everything to this point in Brightest Day was a prologue. We had solid character development and an interesting throughline that proved Firestorm was among the most important characters in the series, but in issue #22, he finally took the spotlight in an epic battle with the Anti-Monitor. It's a true masterpiece in virtually every sense of the word and one that all Firestorm fans should read. Ron and Jason finally work together to save all life--as well as their "fathers"--from the clutches of ultimate evil and death. Unfortunately, while Firestorm was able to save the White Lantern and destroy the Black Lanterns, he was not able to save Martin Stein, who sacrificed himself to save Ron and Jason from Deathstorm's transmuting power. Turned into salt the same as Gehenna, he bequeathed his final wishes to the two men, "knowing" that Jason would be a better partner to Ron than he was. His life now returned, Firestorm found himself transported to the Star City forest, where Deadman demanded the Lantern, and the Lantern wished to be given to him.
![]() |
Gary Frank illustrates the final battle between Firestorm & Anti-Monitor. |
The final two issues really have very little to do with Firestorm, his story all but fulfilled in the previous story. All of the resurrected united at the Star City forest, where Deadman told them they were there to combat the "dark avatar," in actuality the Swamp Thing, the former Earth elemental whose body was possessed by the power of the Black Lantern. The five key heroes--Firestorm, Aquaman, Hawkman, Hawkgirl, and the Martian Manhunter--all transformed into elementals to form a last line of defense until the Entity's replacement could assume his role. Under a tree in that forest was--miraculously--the body of Alec Holland, the man whose consciousness had been imprinted upon the Green to become the original Swamp Thing. Now, Holland literally became the Swamp Thing and combined with the elementals to banish the dark avatar. At the end of the battle, most of the elementals returned to their normal forms and went their separate ways.
Ominously, as the main Brightest Day saga ended, a new era dawned for Ron and Jason. Upon examining some tests designed by the Professor, Jason found that the Anti-Monitor's blasts had caused a change in the Firestorm matrix, beginning a countdown to the detonation they all feared. That's where we leave our heroes until their next appearance.
The new merger, as previously glimpsed in Firestorm #9-13, was similar to the Jason/Professor merger of Stuart Moore's run in that it combined elements of both the "new era" (Jason) with the "classic era" (Ron) in hopes of pulling both new and old fans along--a smart move. This time, however, Firestorm returned to being about the "dumb jock" fused with the "intellectual" that fell in line with the original Conway/Milgrom iteration, getting away from the "dual intellectual" bit of Moore/Igle vintage. Only this time, due to popular demand, DC forsook one type of comic book minority (the fifty or sixty-something Stein) for another (the black Jason). They even went so far as to kill Martin Stein--my favorite character in the mythos--and with his parting words Geoff Johns and Brightest Day co-writer Peter J. Tomasi hit fans over the head with how much better a partner Jason would be than he was. It was one powerful line of dialogue for its sheer wrongheadedness, a moment where it felt less like the character saying the words and more like the writers forcing them in.
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Deathstorm! Cover by David Finch. |
Instead of getting a "voice of experience" in the dynamic, we now have two guys who are similar enough in age whose key differences are in intelligence and skin color. (Is anyone other than Kurt Busiek really going to call Ron Raymond "experienced"?) In selecting a Jason/Ron merger, Johns and Tomasi established a racial dynamic--or, at the very least, a stereotypical one where Jason functioned as the "angry black man" and Ron as a similarly intolerant white man who found themselves at odds, sharing the body and power of Firestorm. (It's not the first time such a dynamic has been used--anyone remember that Blaxploitation film, "The Thing With Two Heads"?) The point was even made explicit by Deathstorm in one of his early non-appearances.
I do enjoy the dramatic tension of having Ron and Jason at odds, and I do want it sticking around, but it goes without saying I want the racial undercurrent to be curtailed. The light antagonism is a plot point that didn't gain much traction in previous Firestorm series, with perhaps its strongest showings in John Ostrander's first issues (wherein Ron and the Professor were at odds over the ban on superheroes during the Legends crossover) and early in Dan Jolley's tenure, where Jason got to pick his partners in the matrix.
In some ways, the infighting between Ron and Jason highlights a key distinction and an evolution in Firestorm that I'd love to explore in deeper detail. Subtextually, the original relationship between Martin Stein and Ron Raymond was always depicted as one between a father and son, with Martin as the father that Ed Raymond couldn't be. Johns and Tomasi made that relationship explicit with Stein's death, while the entire Brightest Day arc functioned to establish a different dynamic between Ron and Jason Rusch. Since the Professor mentored them both, one can easily read the characters' antagonism and their very relationship as being between brothers--moreover, brothers who have experienced the loss of their "father." An intriguing shift, to be sure, and one that I hope DC will investigate in issues to come.
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Deathstorm, Deathstorm, Deathstorm. More by Ivan Reis. |
As far as villains go, Deathstorm seems like another "dark mirror" character in a long line, which is interesting since Firestorm already had one in Shadowstorm. It's true, he's all but forgotten--didn't he die in Captain Atom?--but since when did that ever stop a character from returning? While Shadowstorm was often too straight-faced, too stoic, too eeeeeeevil, Deathstorm was too often off in the other direction, with his deliberately horrible "surfer dude" dialect. I hear he'll be back, but I'm not so sure I like that prospect.
So, where are we heading from here? I keep hearing September will be rife with new first issues and it's obviously when the new Aquaman (by Geoff Johns & Ivan Reis) and Hawkman (by James Robinson & Rags Morales) series will debut. However, DC's made definite plans for Firestorm as well, and I wonder if we won't see a brand-new Firestorm #1 in September as well. At the very least, we should soon see him in a book like Justice League of America or somewhere his new, post-Brightest Day status quo can be explored. Who could be writing the book, if Firestorm returns to a solo series? I don't know, but you can bet that you'll see an interview with the new guy (or girl) either here, courtesy me, or at FirestormFan.com, courtesy Shag, that site's owner. I'm feeling good about this.
~G.
20.5.11
NYCC '10 Remnants: Morbius by Gabriel Hardman
Not much to say today, kids, due to other things going on. That said, I wanted to catch up with old sketches, so here I bring you one of my favorite pieces from New York Comic Con 2010, by Hulk artist Gabriel Hardman! Here, Gabe channels the days of 1970s Marvel magazines with this thrilling rendition of Morbius, the Living Vampire!
Thanks, Gabe! Now, I just have to plan what I want at this year's con...!
~G.
Thanks, Gabe! Now, I just have to plan what I want at this year's con...!
~G.
18.5.11
Reviews: Incredible Hulks #628, Hulk #33
I've been remiss in reviewing last week's Incredible Hulks due to lots of other things happening. So this week, you get a two-in-one review, with Greg Pak & Tom Grummett's issue, followed in swift succession by Jeff Parker & Gabriel Hardman's Hulk. Can it get any better, folks?
Incredible Hulks #628 - Marvel Comics, $2.99
By Greg Pak, Tom Grummett, Cory Hamscher & Edgar Delgado
"Live and Let Smash," part three of the latest storyline, "The Spy Who Smashed Me," continues the James Bond-inspired globetrotting of previous chapters while upping the ante with more mythological underpinnings as in recent issues. The MacGuffin of the piece, Pandora's Box, continues to play a central role, with other agencies attempting to claim it, kidnapping both Tyrannus and Dr. Di Cosimo and leaving Hulk and Red She-Hulk to pursue them while sorting out their own issues. It's an intriguing imbroglio that's surprisingly lighthearted for a Hulk tale.
Greg Pak deserves a lot of credit for switching gears in his waning days on this series. In some ways, the stylistic shift reminds me of the kinds of stories Peter David used to tell using the merged Hulk incarnation of the early #400s. Such stories, often imbued with David's trademark off-center sense of humor, would in theory fail to work in the Hulk's tragic milieu. Yet, here we have another gifted writer, who opted to stay with the Banner/Hulk dichotomy, not only giving us another lighthearted romp, but making it look easy. Kudos, Mr. Pak. And playing up the ties between the Knights of Rome and recent foes, leading to a priceless exchange involving Tyrannus, Cho and the Hulks? Priceless.
Once again, Tom Grummett and Cory Hamscher do a slam-bang job with the art chores this issue, telling the story clearly and stylishly. Edgar Delgado's colors match the light tone of the script. It's a terrific package, made all the more surprising by the fact that the creators stuffed all this excitement into just 20 story pages. Conversely, that's also one of my only complaints about the issue. (The other is more about the arc's lack of covers appropriate to the story inside.) But then again, if cutting two story pages saves readers a whole dollar, then it's hard to dispute the point. Overall, there's still plenty to recommend this issue and series.
Quick Verdict: Buy It.
Hulk #33 - Marvel Comics, $2.99
By Jeff Parker, Gabriel Hardman & Elizabeth Breitweiser
Another month passes, and Jeff Parker and his merry crew again step up to the plate and present another solid issue of the series that just over a year ago was being decried as a blight on the legend of the Hulk in the Marvel Universe. Since taking control in issue #25, Parker, Hardman & Breitweiser have delivered well-hewn stories month in and out, and this issue is no different.
Writer Jeff Parker definitely isn't shy about lining up opponents to face the Scarlet Smasher, as this issue features not one, not two, not three, but four antagonists for Thad Ross, the man who became the very thing he hated. He's been brewing this tableau for a few issues now, and it's to his great credit that the storm of foes surrounding Red Hulk never feels forced. Every development is a cleverly calculated result of what has come before. Keep in mind, yes, the issue's cover (and one of its variants by Ed McGuinness, above) isn't representative of an exact moment in the narrative; still, all four villains have a presence, and three of the four have a direct or indirect conflict with our hero. (The fourth will have his day soon.)
Unlike last issue, the Red Hulk has a meatier part to play at the center of this narrative. He's weary from being unable to rest, hounded by General Fortean, to the degree that he's an easy target for Zero/One's new minion, Black Fog. While making for a terrific action sequence, Parker's plot nonetheless highlights an increasing problem with the character--namely, his unfortunate position of always playing defense. He's being attacked from all sides, unable to shape a plan of his own to overcome his obstacles. And that's a failing that echoes his green-skinned progenitor in the 1970s. Maybe it's the point Parker's trying to make, but if it goes on too long it has the consequence of belittling the title character. I'm hoping Red Hulk gets the chance to strike back soon.
In the art department, Gabriel Hardman and Elizabeth Breitweiser continue to impress. The Red Hulk's battle with Black Fog is stunningly drawn by Hardman, and Breitweiser's colors establish the proper mood. I love the stylistic choices Hardman uses month in and out, employing a solid design sense, easy-to-follow layouts, and tools that very few other artists deign to use (screentone!) in order to produce a unique, dynamic look. My only regret is that we won't see this team together again until issue #39 (!) due to the upcoming biweekly schedule.
Hulk #33 continues the upward trend of this series, which may yet eclipse the terrific storytelling of its sister title. It already often exceeds the other book's fun quotient, in spite of having a protagonist not many fans liked upon his introduction.
Quick Verdict: A close call, but with four villains, a complex ongoing plot, and our Crimson Crusher, in spite of my misgivings about the Red Hulk's role, I'll say Buy It.
What do you think, sirs?
~G.
Incredible Hulks #628 - Marvel Comics, $2.99
By Greg Pak, Tom Grummett, Cory Hamscher & Edgar Delgado
"Live and Let Smash," part three of the latest storyline, "The Spy Who Smashed Me," continues the James Bond-inspired globetrotting of previous chapters while upping the ante with more mythological underpinnings as in recent issues. The MacGuffin of the piece, Pandora's Box, continues to play a central role, with other agencies attempting to claim it, kidnapping both Tyrannus and Dr. Di Cosimo and leaving Hulk and Red She-Hulk to pursue them while sorting out their own issues. It's an intriguing imbroglio that's surprisingly lighthearted for a Hulk tale.
Greg Pak deserves a lot of credit for switching gears in his waning days on this series. In some ways, the stylistic shift reminds me of the kinds of stories Peter David used to tell using the merged Hulk incarnation of the early #400s. Such stories, often imbued with David's trademark off-center sense of humor, would in theory fail to work in the Hulk's tragic milieu. Yet, here we have another gifted writer, who opted to stay with the Banner/Hulk dichotomy, not only giving us another lighthearted romp, but making it look easy. Kudos, Mr. Pak. And playing up the ties between the Knights of Rome and recent foes, leading to a priceless exchange involving Tyrannus, Cho and the Hulks? Priceless.
Once again, Tom Grummett and Cory Hamscher do a slam-bang job with the art chores this issue, telling the story clearly and stylishly. Edgar Delgado's colors match the light tone of the script. It's a terrific package, made all the more surprising by the fact that the creators stuffed all this excitement into just 20 story pages. Conversely, that's also one of my only complaints about the issue. (The other is more about the arc's lack of covers appropriate to the story inside.) But then again, if cutting two story pages saves readers a whole dollar, then it's hard to dispute the point. Overall, there's still plenty to recommend this issue and series.
Quick Verdict: Buy It.
Hulk #33 - Marvel Comics, $2.99
By Jeff Parker, Gabriel Hardman & Elizabeth Breitweiser
Another month passes, and Jeff Parker and his merry crew again step up to the plate and present another solid issue of the series that just over a year ago was being decried as a blight on the legend of the Hulk in the Marvel Universe. Since taking control in issue #25, Parker, Hardman & Breitweiser have delivered well-hewn stories month in and out, and this issue is no different.
Writer Jeff Parker definitely isn't shy about lining up opponents to face the Scarlet Smasher, as this issue features not one, not two, not three, but four antagonists for Thad Ross, the man who became the very thing he hated. He's been brewing this tableau for a few issues now, and it's to his great credit that the storm of foes surrounding Red Hulk never feels forced. Every development is a cleverly calculated result of what has come before. Keep in mind, yes, the issue's cover (and one of its variants by Ed McGuinness, above) isn't representative of an exact moment in the narrative; still, all four villains have a presence, and three of the four have a direct or indirect conflict with our hero. (The fourth will have his day soon.)
Unlike last issue, the Red Hulk has a meatier part to play at the center of this narrative. He's weary from being unable to rest, hounded by General Fortean, to the degree that he's an easy target for Zero/One's new minion, Black Fog. While making for a terrific action sequence, Parker's plot nonetheless highlights an increasing problem with the character--namely, his unfortunate position of always playing defense. He's being attacked from all sides, unable to shape a plan of his own to overcome his obstacles. And that's a failing that echoes his green-skinned progenitor in the 1970s. Maybe it's the point Parker's trying to make, but if it goes on too long it has the consequence of belittling the title character. I'm hoping Red Hulk gets the chance to strike back soon.
In the art department, Gabriel Hardman and Elizabeth Breitweiser continue to impress. The Red Hulk's battle with Black Fog is stunningly drawn by Hardman, and Breitweiser's colors establish the proper mood. I love the stylistic choices Hardman uses month in and out, employing a solid design sense, easy-to-follow layouts, and tools that very few other artists deign to use (screentone!) in order to produce a unique, dynamic look. My only regret is that we won't see this team together again until issue #39 (!) due to the upcoming biweekly schedule.
Hulk #33 continues the upward trend of this series, which may yet eclipse the terrific storytelling of its sister title. It already often exceeds the other book's fun quotient, in spite of having a protagonist not many fans liked upon his introduction.
Quick Verdict: A close call, but with four villains, a complex ongoing plot, and our Crimson Crusher, in spite of my misgivings about the Red Hulk's role, I'll say Buy It.
What do you think, sirs?
~G.
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