Pick of the Brown Bag
January 2, 2019
by
Ray Tate
Welcome to the first 2019 posting of the Pick of Brown Bag. My name is Ray Tate, and I still review the best and worst comic books of the week. For this installment, I examine Batgirl, The Champions, Detective Comics, Fantastic Four, The Immortal Hulk, Iron Man, Project Superpowers, Scooby-Doo Team-Up and the Titans. New Year, same #PickoftheBrownBag on Twitter, if you haven't time for the blog.
WHAT HAPPENED!
Last week’s Champions Annual was so good that I decided to purchase the new debut issue. This premiere is bog standard stuff I normally wouldn’t even bother reviewing, but the contrast is so stark.
The Champions are a group of young, international heroes led by Kamala Khan, Ms. Marvel. Ms. Marvel splits the group into Away Teams to address multiple world issues. All three of them.
Somehow the group got wind of a human trafficking operation. There’s no explanation on how they received their information. Writer Jim Zub just exploits the crime for a fill in the blank global problem.
I would have been happier had the Champions broken a weapons sale. Weapons trafficking doesn’t involve human victims, until the weapons are actually used.
The next team save the few lives surviving a natural disaster. This is probably the best moment of the book because it’s clean, and Wasp cleverly uses her Pym Tech.
The third Away Team including Ms. Marvel bite off more than they can chew when they face the Hulk villain known as Zzzax. This is where things go from mediocre to outright bad.
The badness fruits rottenly at the cliffhanger. Because Miles Morales is Spider-Man, he must repeat Peter Parker’s mistake. This poor judgement happens to be reviled by every Spider-Man reader, and that’s no exaggeration. The only person who thought this was a good idea is the guy that conceived it. He was wrong.
The Annual was almost poetic. The Annual focused on Snowguard, her background, her ethnicity, her friends and family and did so with care. The perfect pace of The Annual welcomed you into this new world with new creatures to encounter. I mean, it felt like a really good novel. The Champions lacks poetry and focus. The characterization is painfully thin until artificial conflict arises. Then you don't care. Set-pieces construct its plot and coincidence is the watch-word.
The art by Marcus To and colorist Jordyn Boyd in the Annual created a gorgeous aesthetic, but there’s no beauty in this book. Steven Cummings' art is a function of the plot and lacks flourish. It’s not bad art. It’s technically good but without inspiration, and the colors are just plain.
It would be almost bad manners to criticize the Fantastic Four anthology. Each story very logically leads up to the wedding of Alicia Masters and Ben Grimm. About the only bad thing I can say is that the Tigra content--which is zero--is greatly unappreciated. Even if not an official member, Tigra did hang around the Fantastic Four, you know.
The story begins with the FF moving into their new digs on Yancy Street. They lost the Baxter Building while they were in limbo. Reed replicates his feat of Gallifreyan engineering.
The comedy of course lies in Sue's reaction. With the exception of the Bachelor Party sector, Sue is essentially a point of view character throughout the book. Though she even pops at the short as a non-sequitur aside.
Reed seems to be doing his utmost to shirk his duties as Best Man. He's typical Reed. Absorbed in science, ignoring the flesh and blood. Blundering with social faux pas. This however is a ruse, as the more astute Reed Richards fans probably sussed out. When it's important, Reed is there.
But back to the narrative. Action Comics' and Guardians of the Galaxy's, Aaron Kuder supplies the train to the wedding. Following it takes you to Aunt Petunia and a lovely Jewish ceremony of celebration, costume free. This is where Reed reveals what advanced science he's been working upon.
In between, Mike and Laura Allred, the best choice to allude to Jack Kirby, superbly recapitulate the King's early work while Slott embraces even the less happier times of Fantastic Four continuity. Word for word.
Slott astutely points out that the FF are humans. Humans sometimes say stupid things in the heat of the moment, in a blink of an eye that they did not mean to say. If you're a Freudian, always meant to say but repressed. I'm not a slipper.
The human brain sometimes misfires. It's that simple, and Slott picks two instances of the oldest FF adventures to humanize Sue. You can really absorb the emotion in the narrative. You can sense her sorrow.
From there we cut to the Bachelor Party thrown by Johnny Storm, because Reed is totally oblivious to the important things in life.
Adam Hughes takes over the art, and he creates an utterly lovely, visually comedic non-threatening exposure of male desires.
This includes wrestling, poker and the occasional stripper popping out of a cake. The wrestling part of this excursion is the only thing that goes proper. The poker game is fun but steers into territory the boys never saw coming. As to the strippers.
Yeah, this is a lark with Spider-Man being hilarious throughout and Ben delivering a great punchline. Pay close attention, and you'll note the return of a Marvel Two-In-One guest star that foreshadow a problem that threatens to interrupt the nuptials. This however is not Doctor Doom.
The story begins with the FF moving into their new digs on Yancy Street. They lost the Baxter Building while they were in limbo. Reed replicates his feat of Gallifreyan engineering.
The comedy of course lies in Sue's reaction. With the exception of the Bachelor Party sector, Sue is essentially a point of view character throughout the book. Though she even pops at the short as a non-sequitur aside.
Reed seems to be doing his utmost to shirk his duties as Best Man. He's typical Reed. Absorbed in science, ignoring the flesh and blood. Blundering with social faux pas. This however is a ruse, as the more astute Reed Richards fans probably sussed out. When it's important, Reed is there.
But back to the narrative. Action Comics' and Guardians of the Galaxy's, Aaron Kuder supplies the train to the wedding. Following it takes you to Aunt Petunia and a lovely Jewish ceremony of celebration, costume free. This is where Reed reveals what advanced science he's been working upon.
In between, Mike and Laura Allred, the best choice to allude to Jack Kirby, superbly recapitulate the King's early work while Slott embraces even the less happier times of Fantastic Four continuity. Word for word.Slott astutely points out that the FF are humans. Humans sometimes say stupid things in the heat of the moment, in a blink of an eye that they did not mean to say. If you're a Freudian, always meant to say but repressed. I'm not a slipper.
The human brain sometimes misfires. It's that simple, and Slott picks two instances of the oldest FF adventures to humanize Sue. You can really absorb the emotion in the narrative. You can sense her sorrow.
From there we cut to the Bachelor Party thrown by Johnny Storm, because Reed is totally oblivious to the important things in life.
Adam Hughes takes over the art, and he creates an utterly lovely, visually comedic non-threatening exposure of male desires.
This includes wrestling, poker and the occasional stripper popping out of a cake. The wrestling part of this excursion is the only thing that goes proper. The poker game is fun but steers into territory the boys never saw coming. As to the strippers.
Yeah, this is a lark with Spider-Man being hilarious throughout and Ben delivering a great punchline. Pay close attention, and you'll note the return of a Marvel Two-In-One guest star that foreshadow a problem that threatens to interrupt the nuptials. This however is not Doctor Doom.
Damn good thing Doom is on our side, right? I love how even when protecting everybody, he's a pure drama queen who looks like a menace.
This may be your first encounter with Project Superpowers. Yet you may be asking yourself, why do heroes, such as the Black Terror and Masquerade, look so familiar.
It’s because they’re bona fide comic book characters from the 1940s and reside in the public domain. That means anybody can publish new stories and/or new art without fear of reprisal. These heroes belong to the world.
In Project Superpowers an enormously powerful entity from the stars wreaks havoc on the planet. His name is Pandora. He is not the comely Greek from legend who inadvertently released the ills unto the world and guarded hope. Though he does want his box back something fierce.
In Project Superpowers an enormously powerful entity from the stars wreaks havoc on the planet. His name is Pandora. He is not the comely Greek from legend who inadvertently released the ills unto the world and guarded hope. Though he does want his box back something fierce.
Pandora recently announced himself by dropping airplanes out of the sky and killing The Green Lama. Maybe. The Lama is an extremely powerful mystic. Pandora claims to be a god but keeps getting surprised and beaten up by the Superpowers; which is by the by immensely satisfying. I just can't see this turquoise braggart succeeding when more cunning foes failed.
I will give Pandora this. He is a scary multitasker. Currently, Pandora attacks the Superpowers and the world on multiple fronts.
Pandora controls the original Daredevil. Daredevil is in actuality some sort of phantasm manifesting in Bart Hill’s costume. Bart Hill died long ago. The phantasm however seemed to be on the up and up, doing good, joining the Superpowers in battle. He even warned the Green Lama of Pandora's arrival. Pandora suppressed the good laced into the uniform and made the gargantuan artistic license on some of Daredevil's old covers a reality.
Pandora controls the original Daredevil. Daredevil is in actuality some sort of phantasm manifesting in Bart Hill’s costume. Bart Hill died long ago. The phantasm however seemed to be on the up and up, doing good, joining the Superpowers in battle. He even warned the Green Lama of Pandora's arrival. Pandora suppressed the good laced into the uniform and made the gargantuan artistic license on some of Daredevil's old covers a reality.
Pandora’s “box” played a huge part in the Superpowers' lives. Bamboozled hero, the Fighting Yank tricked the Superpowers into the “box” where they marinated for decades. A creature called the American Spirit and embodying a living Stars and Stripe haunted the Fighting Yank until he released the Superpowers. Other than retrieving his box, Pandora’s goal is to acquire the American Spirit.
The American Spirit bound itself to new character Imani. The Superpowers seek to protect Imani, just because of principle. As well as their old comrade the American Spirit.
A super powerful being who can cause death and destruction at a whim. His goals nothing more or less than total multiverse domination. He's already killed the Green Lama. He's hamstrung the Silver Scarab. He seeks to take the American Spirit off a young girl's corpse. The Superpowers are severely outmatched, and their old fighting mate Daredevil battles for the other side. These are dark times, and yet...
As it turns out this new threat, seems to invigorate the Superpowers. Diana Adams née Miss Mask began to stress out on the culture shock from the toxic masculinity overtly displayed in the present day.
She began to doubt herself as a hero and the cause she fought for. No longer. All the Superpowers are of one mind. Protect the American Spirit and its host Imani. Destroy Pandora. Save the earth. Save the multiverse.
Writer Rob Williams infuses a lot of humor, positivity and lightness in the story to contrast the consequential plot. Sergio Davilla illustrates the Superpowers as resonant heroes. They walk the walk of Nazi fighters, and you have no doubt. They're going to win.
Titans is another mind-blowing layered reading experience and a testament to Dan Abnett’s skill. Old Titans fans might object to the new Brother Blood, but it’s the New 52. It’s a new universe. The old Brother Blood died two cosmos ago.
Titans devotes its entirety to Sister Blood. No relation to Brother Blood. Normally, I wouldn’t give a rat’s ass about the villain. Abnett makes Sister Blood’s onset riveting. He begins with an indictment of real world events. Specifically Donald Trump's gestapo ICE.
Can’t say I disagree, and what a smart ploy by Brother Blood. I can find followers if I pretend to be the hero and save them from persecution.
Abnett presents Sonya Tarinka as a critical thinker. She doesn’t drink the Kool-Aid. She's actually a scientist. Her role adds more fuel to the immigration fire. We want scientists in our country. Well, Trump doesn't. He fears science.
Sonya uses the cult of Brother Blood, not the other way around, and Blood notices her. He confronts her, using a charm offensive. Something the original Brother Blood with his red costume and skull helmet really could not muster.
So far, this is enough. The story is interesting enough, the characters full enough for me to notice the rise from mediocrity. Abnett next pulls in continuity, continuity that I don’t even care about, to relate an even richer tale.
So once again, The Titans revolves around the destruction of the Source Wall, which happened in another title and has been secretly directing everything not related to Tom King in the DC Universe.
Scott Snyder and company in the Justice League confused the hell out of me with all of this Source Wall business. They didn't hash it out succinctly and exacerbated the problem with pseudoscientific gobbledy-gook. Abnett on the other hand demonstrates the consequences of the Source Wall’s destruction. He breaks it down through the Cult of Brother Blood, and its transformation under Sister Blood. He in addition bizarrely replicates the stated mind-set of Madame Helena Petrovna Blavatsky, infamous real-world Victorian charlatan.
Abnett however isn't satisfied with just this merciless assault of damn good writing. No. The Parliament of the Red is another gem buried in the treasure chest of Scott Snyder. That chest is now filled with costume jewelry, but Abnett still knows where the good stuff lies.
Snyder reintroduced Swamp Thing for the New 52, and he created the Parliaments of Nature: Red, Trees, Rot. They reflected the old taxonomic Kingdoms of biology.
Abnett blends all of these elements into a melting pot already suffused with what should have been a one-off concept of his own. Yet, it bubbles and seethes.
Abnett still unhappy with his breathtaking character study of Sister Blood, his historical mirroring and his analysis of the multiverse adds just one more little twist that can act as grounding for any genre.
Scooby-Doo Team-Up takes Scooby and the Gang somewhere you never expected. Apokolips.
As with classic Mister Miracle adventures from Jack Kirby and later Steve Engleheart, Granny Goodness exhibits her obsession with Scott Free and Big Barda through an attack and a kidnapping.
Writer Sholly Fisch appears particularly inspired by Kirbysthetics. This issue of Scooby-Doo Team-Up is all fair play detective work and escapology, just like the good old days.
In fact stellar artist Dario Brizuela, who can draw every DC or Hanna-Barbara character gorgeously, presents the means of Granny’s inevitable defeat out in the open like a purloined letter.
Fisch and Brizuela inform about the New Gods while making the facts and continuity intrinsic to the escape. They in addition go above and beyond the cleverness of the plot and inject the story with the optimism at the center of Kirby’s tales. No matter how much Darkseid presided over his planet. It's always been clear. Kirby intended for hope to win out.
In a battle against an old enemy named Grotesque, Batgirl suffered a catastrophic electrical shock that damaged the chip in her spine that allows her to walk. Writer Mairghread Scott's latest issue of Batgirl takes place about a month after surgery. Everything is sunshine, lollipops and rainbows.
Batgirl returns, and artist Paul Pelletier infuses the utter joy she gets from swinging through the Gotham skyline.
Grotesque is a memory. The cyberpunk arc seems to be over. Writer Mairghread Scott now turns to the political thriller.
Before closing her previous story, Scott dropped the FBI into the Commissioner's lap. It seems they're investigating the GCPD. It was nice to see an actual government agency in the comic book pages for once. This investigation occurs at the same time a congressional race begins. Oh, and that twit Jason Bard is back in town.
Created by Frank Robbins and Gil Kane, introduced in Batgirl's feature in Detective Comics #382, Jason Bard originally was a wounded Vietnam veteran who became a private investigator.
Bard was at best an occasional helper of Batgirl and Babs Gordon's friend/date. More often than not, Batgirl extricated Jason from more than he could chew. Jason's best moment came when Batgirl as Babs Gordon ran for Congress. Jason prevented her from falling victim to an explosive trap.
Ultimately though, Jason was a drip and a square, which is probably why Scott Snyder and James Tynion turned him into an outright villain in Batman Eternal.
Vicki Vale was right by the way, the deceased Batman shows up and gives Bard the punch he so richly deserves.
This is the Jason Bard that we get to see in Batgirl. The candidate hired Jason, back to being a private investigator, to infiltrate the opposition's forces.
Before that though, Scott impresses with an antagonistic relationship between Batgirl and Commissioner Gordon that we've never really seen before.
You can argue that he should know his daughter even in costume. He must be blocking it just like the utterly brilliant Lena Luthor does when she sees best friend Kara Danvers on Supergirl.
Because DC introduced Batgirl in the nineteen sixties, Commissioner Gordon welcomed her to the special deputy squadron. Comic books didn't function on realism. By the Bronze Age, Commissioner Gordon figured out Batgirl's secret identity. Post-Crisis Batgirl only existed briefly in flashback.
No writer could really develop any of the friction that Scott provides. She does so sensibly. Although his pulling out a gun, is a bit much. Perhaps, Scott felt this was gut cop instinct. Good police officers supposedly train to make their gun an extension of their arm. However, on some level, Gordon should know that he faces his daughter. He should trust her.
Jason's playmates throw the rule book out the window, and the situation becomes explosive. We get to see Batgirl in fierce action, another delight from Paul Pelletier.
Though it's clear that the opposition candidate bankrolls the operations, or is it? The head honcho of the violent group is a beefed up Batgirl foe of old. I'm of two minds. On the one hand, this particular nemesis blubbered satisfyingly when confronting Batgirl. That's a big clue to his identity. On the other hand, didn't I just say that it's the New 52? That the old antagonist died two cosmos ago? I did. So how can I be raw about this new version who has his hate on for Batgirl?
Batgirl returns, and artist Paul Pelletier infuses the utter joy she gets from swinging through the Gotham skyline.
Grotesque is a memory. The cyberpunk arc seems to be over. Writer Mairghread Scott now turns to the political thriller.
Before closing her previous story, Scott dropped the FBI into the Commissioner's lap. It seems they're investigating the GCPD. It was nice to see an actual government agency in the comic book pages for once. This investigation occurs at the same time a congressional race begins. Oh, and that twit Jason Bard is back in town.
Created by Frank Robbins and Gil Kane, introduced in Batgirl's feature in Detective Comics #382, Jason Bard originally was a wounded Vietnam veteran who became a private investigator.
Bard was at best an occasional helper of Batgirl and Babs Gordon's friend/date. More often than not, Batgirl extricated Jason from more than he could chew. Jason's best moment came when Batgirl as Babs Gordon ran for Congress. Jason prevented her from falling victim to an explosive trap.
Ultimately though, Jason was a drip and a square, which is probably why Scott Snyder and James Tynion turned him into an outright villain in Batman Eternal.
Vicki Vale was right by the way, the deceased Batman shows up and gives Bard the punch he so richly deserves.
This is the Jason Bard that we get to see in Batgirl. The candidate hired Jason, back to being a private investigator, to infiltrate the opposition's forces.
Before that though, Scott impresses with an antagonistic relationship between Batgirl and Commissioner Gordon that we've never really seen before.
You can argue that he should know his daughter even in costume. He must be blocking it just like the utterly brilliant Lena Luthor does when she sees best friend Kara Danvers on Supergirl.
Because DC introduced Batgirl in the nineteen sixties, Commissioner Gordon welcomed her to the special deputy squadron. Comic books didn't function on realism. By the Bronze Age, Commissioner Gordon figured out Batgirl's secret identity. Post-Crisis Batgirl only existed briefly in flashback.
No writer could really develop any of the friction that Scott provides. She does so sensibly. Although his pulling out a gun, is a bit much. Perhaps, Scott felt this was gut cop instinct. Good police officers supposedly train to make their gun an extension of their arm. However, on some level, Gordon should know that he faces his daughter. He should trust her.
Oh, Hell Yeah!
Jason's playmates throw the rule book out the window, and the situation becomes explosive. We get to see Batgirl in fierce action, another delight from Paul Pelletier.
Though it's clear that the opposition candidate bankrolls the operations, or is it? The head honcho of the violent group is a beefed up Batgirl foe of old. I'm of two minds. On the one hand, this particular nemesis blubbered satisfyingly when confronting Batgirl. That's a big clue to his identity. On the other hand, didn't I just say that it's the New 52? That the old antagonist died two cosmos ago? I did. So how can I be raw about this new version who has his hate on for Batgirl?
Continuing the theme of his opening chapter, Peter Tomasi creates two new assaults against either Batman or Bruce Wayne. Each one however requires intimate knowledge of either identity.
Very few criminals in Batman’s rogues gallery possess such facts. Catwoman would never do such a thing nor work through subordinates. Ra's and Talia Al Ghul never exhibited such sadism, nor dishonor.
Another possibility lies outside of Batman’s immediate enemy list. Lex Luthor strongly believes Batman and Bruce Wayne are one. Lex however would not kill a good person to prove it. Bane may know Batman’s secret identity, but these tactics bear too much style.
Given the surreal nature of the attacks. Last issue either an alien or robot and this issue a figure garbed in literature. I’m beginning to think none of Tomasi's tale is real. Possibly a mad scientist or Darkseid captured Batman, and he lies in a Prisoner type virtual reality nightmare.
Whatever the answer, Tomasi’s tale and Doug Mahnke’s art create an emotional and original puzzle for the reader to observe and deduce.
Speaking of Virtual Reality, Tony Stark last issue of Iron Man unveiled The Escape. The Escape is a virtual reality past time that went global.
Tony's father Howard Stark designed the original Arsenal. Buttressed by a Maria Stark artificial intelligence, Arsenal a World War II android became a threat to the Avengers.
Both he and Maria meant to kill Nazi Agents. So, they were really confused good guys. That explains their resurgence in the Escape.
A score of online trolls instituted Arsenal, who now acts as a terms of service boot, coming into play. Arsenal also addressed Tony Stark’s behavior in the game. Tony merely sought to monitor stealthily, but all good deeds.
The rather, large avatar is Arsenal.
Tony's father Howard Stark designed the original Arsenal. Buttressed by a Maria Stark artificial intelligence, Arsenal a World War II android became a threat to the Avengers.
Both he and Maria meant to kill Nazi Agents. So, they were really confused good guys. That explains their resurgence in the Escape.
A score of online trolls instituted Arsenal, who now acts as a terms of service boot, coming into play. Arsenal also addressed Tony Stark’s behavior in the game. Tony merely sought to monitor stealthily, but all good deeds.
To make matters worse, the Controller is meddling in Tony Stark’s affairs, but the surprise is on him. In a superb example of his intellect, Tony prepared.
This is the second Doctor Who reference this week. So, naturally I approve.
The covers to Iron Man are serious, dark and this one weird and disturbing. These covers lack validity with respect to the contents.
Once again, Scott and brilliant artist Valerio Schiti creates a light bouncy atmosphere with humorous heroes filled with altruism. Industrial espionage and connections between characters drive the plot.
While wide-scoping topics topics like what constitutes consciousness present in the story, nothing warrants the tone of the covers. Making me think that Marvel slated another writer, one with a serious sensibility to take over Iron Man after Brian Bendis left. The covers already commissioned reflect the tone Marvel anticipated. Those plans fell through, and thankfully we got Slott and Schiti.
The covers to Iron Man are serious, dark and this one weird and disturbing. These covers lack validity with respect to the contents.
Once again, Scott and brilliant artist Valerio Schiti creates a light bouncy atmosphere with humorous heroes filled with altruism. Industrial espionage and connections between characters drive the plot.
While wide-scoping topics topics like what constitutes consciousness present in the story, nothing warrants the tone of the covers. Making me think that Marvel slated another writer, one with a serious sensibility to take over Iron Man after Brian Bendis left. The covers already commissioned reflect the tone Marvel anticipated. Those plans fell through, and thankfully we got Slott and Schiti.
The Immortal Hulk goes to Hell or at least a realm similar to Hell along with Ace reporter Jackie McGee, Puck and Crusher Creel. So far not so impressive, but Jackie McGee impresses both the Hulk and yours truly.
I never expected the cultural rage of women and black people to appear in The Immortal Hulk. Writer Al Ewing throws the corpse of Thunderbolt Ross and Rick Jones at the Hulk, but it's Jackie McGee's questioning of the Hulk that provides the most thought provocation.
The way Hulk responds indicates that this rage "monster" is actually more enlightened than some of the men Jackie's thinking about. Indeed, perhaps this why readers in general like the Hulk as a character. We know that he's a being of anger, but at heart a hero.
I never expected the cultural rage of women and black people to appear in The Immortal Hulk. Writer Al Ewing throws the corpse of Thunderbolt Ross and Rick Jones at the Hulk, but it's Jackie McGee's questioning of the Hulk that provides the most thought provocation.
The way Hulk responds indicates that this rage "monster" is actually more enlightened than some of the men Jackie's thinking about. Indeed, perhaps this why readers in general like the Hulk as a character. We know that he's a being of anger, but at heart a hero.
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