Thursday, March 25, 2021

POBB March 25, 2021

Pick of the Brown Bag
March 25, 2021
by
Ray Tate

Welcome to the Pick of the Brown Bag.  It just hit me.  I could have called this group of POBB reviews Infinite Madness or March Frontier Madness, or some kind of Madness.  You know, for the basketball.  Oh, well.  This week I examine Catwoman and Wonder Woman.  You can also find capsule snap judgements on Twitter: #PickoftheBrownBag 


Catwoman begins a new story, while tying a few loose ends.  Apparently, a lot happened between Joker War and Future State.   Writer Ram V makes it pretty easy to catch up.  Although I do have a few questions, just not about the plot.

How big is Gotham City? We discover another corner of undeveloped Gotham from whence Catwoman now operates.
  

Calling her building The Nest doesn't make a whole lot of sense given Catwoman's sobriquet.  I would expect Robins or Owls to nest.  Surely Cradle would have been a better designation.  
  

Catwoman now runs a group of Irregulars to better her schemes.  I hesitate to refer to them as a gang.  Since the Bronze Age of comics, Selina has always been more Sherlock than Fagin.

When the reader reacquaints herself with Catwoman, she finds the femme fatale lounging in the sun, along with her sister Maggie.

This is artist Fernando Blanco's sharpest contrast to what you're about to experience.  The scene exemplifies Blanco's ability to illustrate jet set elegance and tasteful anatomical beauty.  Jordie Bellaire accompanies Blanco with bright, warm colors, which will strike against the noir and eerie hues to come.

Those surprised to see Maggie up and about should check out the Catwoman 80th Anniversary Special.  The short story by Ram V and Fernando Blanco foreshadows what's seen here.  


Those who were unaware of Catwoman's sister need not go any farther than "yes, she has a sister."  Maggie's life wasn't pretty, and it's not to be revisited by those with weak stomachs.  


See.  That's how a rational person introduces a character.  Unlike James Tynion and his new pet thug Ghost Scouser.  Now, what's Detective Hadley's relationship to Catwoman?


Why thank you.  That clears up everything.  On the other hand, I don't understand this.

So, Lucius Fox embezzled Bruce Wayne's fortune? Catwoman set the money free to be adopted by needy Gothamites?  I don't think that's quite what happened, but it doesn't matter because the tale doesn't really pertain to any of that.  Whatever that is.


Hadley leaves a file with clues that lure Catwoman into a mystery that involves the Riddler, a second surprise Batman-Catwoman character and this new assassin.


Previously Ram V inveigled Catwoman in several pulpy heists for inventory issues during the Joelle Jones run of the series.  This is his first turn to write Catwoman as essentially a super-hero.

I know what you're thinking.  She hasn't any superpowers.  Neither does Batman.  A superhero partially can be defined by the company he keeps.  Nine times out of ten, Selina's hanging with the Batman Family, if not contributing to it.  Superheroes fight super-villains.  Selina battles a super-villain to keep the Riddler alive.

She has no rationale for the risk, other than she doesn't want to see the Riddler killed.  That's very Batman.  Furthermore like the superhero genre, Catwoman crosses into science fiction.  The assassin is more than just a Ninja with an odd dress sense.  She packs some strange tech, best not spoilt here.

Now that The Joker War is over, Ram V with the superb artwork of Fernando Blanco appears to be ushering in a new era of easy-to-comprehend, entertaining Catwoman stories.  Subscribe.  


In the Infinite Frontier, Wonder Woman appears to awaken in....  


I know what some of you may be thinking.  Is this a Marvel/DC crossover? Nah.  Norse Mythology is public domain.  Thor may show up in Wonder Woman, but he'll probably look more like this guy.

Thor and the Midgard Serpent (by Emil Doepler, 1905)

In any case, Thor is not accompanying Wonder Woman in battle.  The dusky-skinned warrior is none other than...


Siegfried is mostly known from Wagner's Ring of Nibelungen.  Wagner, a racist, would probably have done a spit-take upon seeing artist Travis Moore's and Tamara Bonvillain's gorgeous Moorish version of the legendary figure.  Suits me fine.  

Siegfried and Diana battle on the fields of Asgard, and as the saying goes, when you're dead, you're...


Some may balk at Diana dying so easily, but she's nor all there in this story.  Her memory is hazy.  Her powers halved at the least.  So the magical deaths are allowable in my opinion.  

As the story unfolds, we discover that Diana may or may not actually be in Valhalla.  When slain, or when recovering from a hangover, Diana experiences visions, memories or an altered state.

That figure looks a lot like the classic Ray Palmer Atom, but that's only an educated guess based on scant evidence.  Read on.  Diana meets a Norse Squirrel Girl cast-mate and other Viking figures of myth.  Soon she discovers that within Valhalla, something is amiss.

In addition to the central theme of Wonder Woman clashing with, fighting alongside of a different pantheon, Becky Cloonan and Michael Conrad fill the tale with character and humor.


Wonder Woman also features a backup story by Bellaire that's sound and pretty.  The aesthetic is courtesy of Paulina Ganucheau and Kendall Goode.  Older Wonder Woman fans will get a kick out of the Kanga returning as part of Amazon culture and discover the Amazons' surprising relationship with sharks. 

This type of story depicting Young Diana is a staple of Wonder Woman comics.  After William Marston and H.G. Peter left the series, Robert Kaniger and Ross Andru took over to present the modern romance between Diana and Steve Trevor as well as the adventures of teenage Diana as Wonder Girl and toddler Diana as Wonder Tot. Even if you find this short a little too childish, subscribe for the artwork and the more mature main attraction.

Tuesday, March 16, 2021

POBB March 14, 2021

Pick of the Brown Bag
March 14, 2021
by
Ray Tate

Welcome back to the first POBB marathon spotlighting the Infinite Frontier.  For this posting, I look at The Crime Syndicate, Suicide Squad and Swamp Thing.  If you're out of time and need a snap decision-- #PickoftheBrownBag --on Twitter.


Gotta admit.  It takes balls to write the Crime Syndicate after Grant Morrison and Geoff Johns.

Created by Gardner Fox and Mike Sekowsky, the Crime Syndicate of America debuted in Justice League of America #29 in 1964.

The Crime Syndicate was unlike any other group of villains the Justice League faced.  That was because they were the top dogs of Earth-Three.  

Earth-Three is a distinctive mirror earth where several opposites in history occur.  I won't go into details because you can only make sense of them after some deep, deep thought.  

Originally, the changes were just flip and superficial like Lincoln shooting President Booth.  When you ponder though, the Crime Syndicate's entire timeline must be radically different.

At the onset, the Crime Syndicate bore no doppelgänger relationships to the Justice League.  In other words the villainous Johnny Quick was not secretly John Chambers, nor Barry Allen nor any of the other Flash Family of speedsters.  These villains merely mocked the colors and style of the Justice League.  

The original Crime Syndicate returned to plague the Justice League and the Justice Society several times before dying in The Crisis on Infinite Earths.  Since the multiverse no longer existed.  Neither could the Crime Syndicate.  Then, Grant Morrison happened.


Morrison began recreating the multiverse in JLA.  The Justice Society were in metaphorical limbo.  Earth Two was vacant.  It became the Syndicate's new home.

Again, these reconfigured villains are nobody we know.  Ultraman isn't Kal-El.  Superwoman though adopting the identity Lois Lane is actually an Amazon just like her predecessor.  Owlman is Thomas Wayne Jr.  

Geoff Johns for the New 52's Forever Evil preserved a lot of what Grant Morrison reconstituted,  He furthermore added a clever purloined letter in the form of Atomica, a female, gun-moll version of the Atom.  By the by, Johns' sleight of hand plotting in this event is his most masterful.

Andy Schmidt's story presents the formation of the latest version of the Crime Syndicate, resurrected from Death Metal.  I know as much about Death Metal as I do the Suicide Squad.  Let's just say something happened to reboot the multiverse and move on.  

The book opens on the JFK assassination, but it's somewhat different than what you expect.  


A lot of people are going to accuse the Crime Syndicate of ripping off Brightburn.  Sorry.  Ultraman was Brightburn long before Brightburn.  No matter the incarnation, the Syndicate were always a nasty bunch of bastards.

The elimination also exemplifies the unique history of the Syndicate's planet.  That incarnation of JFK was an authoritarian dictator.  People cheer after the assassination, until they see what did the deed.

This version of Earth-Three may not have stayed rancid like the previous copies.  We jump forward to the now, where Cat Grant runs The Daily Planet.


A long time ago, post-Crisis creation Cat Grant was just a reporter of fluff pieces.  As writers started giving her dignity and depth, she evolved into a substantial character, making her transition to founder of media conglomerate Catco on Supergirl a linear, short step.

Cat editing and publishing the Daily Planet has only been a polar opposite for a few brief formative years.  The real strange thing about the scene is that on a corrupt Earth-Three, newspapers exist and still print the truth.

Other Syndicate members get their piece and highlight the unsual nature of the earth they occupy.


Oliver Queen became President.  Superwoman in this story is an evil version of Donna Troy.  I doubt Schmidt would have thought of that if not for Dan Abnett's remarkable Titans run. 

The post-Crisis repeatedly kicked Donna Troy in the teeth.  She suffered greatly from having her history ripped out from under her.  More so than her fellow Titans.  The New 52 hasn't been any kinder.  

At first rewritten as a homunculus fashioned to kill Wonder Woman, Donna experienced a fuzzy memory composite of her previous Teen Titans life.  Rejoining the Titans, she learns her future self will conquer the planet and murder not just Wonder Woman but every other hero.  Sucker...It was Wally West all along.

Adding to the roster, Schmidt revives Crime Syndicate also-rans like the new Johnny Quick who looks like a refugee from Mad Max Fury Road.  We also get a new Atomica and a new John Stewart as Power Ring.


A new ring of Volthoom, as well.  The New God Black Racer destroyed the evil intelligence in Justice League during the Darkseid War.  Another really good Geoff Johns production.

Last but not least, Owlman shows up toward the conclusion, being part Morrison Hoots and part Scott Snyder Court of Owls.


The Crime Syndicate forms this time to combat an invasion by Starro the Conqueror.  Starro first attempted to conquer     earth-one back in the Silver Age.  He shows up every once and awhile for a repeat performance, heckled by the League.  He's an A-Class threat even if thwarted by a mascot with a snapping fetish and worth the Syndicate's mettle.  Still there's nobody here to root for.


Starro's a cunning alien, monster.  The Syndicate are evil.  Schmidt raises them above the level of ordinary criminal.  They all foster different rationales for fighting Starro, and becoming sort of champions of the innocent by default.  Still, evil though.

Art by Kieran McKeown and Dexter Vines offers a solid visual narrative filled with emotive characters, and Steve Oliff's hues add zing.  This is about as colorful a comic book reveling in villainy can get.  Subscribe if you're a Crime Syndicate fan.  Follow for possible hero guest stars if you're not.


So, guess what? I know beans about the history of the Suicide Squad.  I know that the original team were a handful of expendable, human operatives led by Rick Flagg, and that's about it.  So click on the wikipedia link if you're super-interested.  I'm not even mildly curious.

The basics of the modern Suicide Squad is simple.  Amanda Waller controls a team of expendable villains and sometimes heroes from the DC Pantheon to handle tasks too dirty for higher grade Leaguers, Legionnaires, Titans, and sure, even Outsiders.  The carrot is usually a reduced sentence.  The stick is a remote control explosive device in the head or neck.  You only get hit once with the stick.

Usually, I don't give a rat's behind about the Suicide Squad.  I agree with Batman, who despises Waller and the Squad.  However, Charlton cover heroes Peacemaker and the Judomaster, of all people, make picking up at least one issue difficult to resist.

This is not to say Judomaster or Peacemaker are favorite characters, or even good characters.  I've never read a single one of their original adventures.  Nevertheless, I'm aware of their existence and that DC bought these oddities as part of a birthday gift for Dick Giordano.  True.  It's their rarity that makes them sauce for the goose.  Dan Greenwald from the Comic Book Pit podcast referred to such figures as stray puppies.  I've not heard of a better description.

Suicide Squad didn't change my uninformed opinion of Judomaster and Peacemaker.   Marvel cornered the market in super-cool martial artists in the seventies at the height of the Kung-Fu Fighting era.  


DC has the Batman Family and Black Canary.  Why on earth would I waste my time on some lame "master" of judo?  Ever hear of the original Black Cat from the humble Harvey Comics?   


That's some tastier eye-candy, let me tell you, and I'm sure she can kick Judomaster's ass.  Of course, so can Tinker from Speedy Buggy.  

As for Peacemaker, what the hell is up with that headgear? How? Why? 

So this is the Infinite Frontier Suicide Squad.  Two Charltons, Bolt, who I know from Who's Who in the DC Universe? All led by Amanda Waller, of course.  


Here's the funny thing.  I still don't give a rat's behind about the Suicide Squad.  I'm either still neutral or disdainful toward this particular team.  However, writer Robbie Thompson makes The Suicide Squad compelling.

Amanda Waller is a paranoid lunatic control freak.  She believes that every hero she cannot command is her enemy.  This includes the Justice League.


That's Rick Flagg.  A character who lived far beyond his expected sell date.  The Squad's objective.  


Infiltrate Arkham Asylum, and that's really all I can say about the book without giving away all the intriguing twists and turns.  Somehow Amanda Waller believes these actions will create a countermeasure to the Justice League.  She's setting herself up for another loss.  Waller should retire somewhere and take up Buddhism.  She's just a delusional, ball of hate.  In the real world, if she weren't Black, she'd be a pundit on Fox News.

One other impressive thing I can divulge about Suicide Squad.  It's actually set before some of the events in the anthology Infinite Frontier, and links up smoothly.


The release of Joker gas catalyzes the Batman story in Infinite Frontier.  So, extra points for that.  

DC gave the thankless task of making nobodies look good to Eduardo Pansica, Julio Ferreira and Marcelo Majolo.  They all measure up to the challenge, and sisters and brothers they were challenged.  If you're keen on the Suicide Squad, subscribe.  I'll be honest I'm tempted to pick up a second issue.  At the very least, follow.


My favorite Catwoman writer Ram V introduces a new Swamp Thing, kind of, to the Infinite Frontier.  Will it take root?  Damn good question, and it's too early to tell.  

Being a fan of Swamp Thing, I'm naturally a little leery of the whole exercise.  I'm an old school kind of guy.  


I still love this movie.

Swamp Thing for me is Alec Holland, who's slain in a lab explosion, splashed with a bio-restorative formula of his own invention that merges him with the swamp and extinguishes his flaming body.  

Alec spends the rest of the series seeking revenge for his wife Linda whom the opposition murders in cold blood.  He actually doesn't want a pound of flesh for his own fate.  Killing Linda is the crime.  Hence, Swamp Thing's initial success.  Alec Holland is selfless.  Most people would be pretty raw about being turned into a muck monster.  For Alec, all that matters is making the people who killed Linda pay.


After the vengeance, Swamp Thing becomes a fringe figure in DC Comics stopping the monsters, both human and otherwise that threaten humanity and nature.


My very first encounter with Swamp Thing
The Brave and the Bold #122

In the post-Crisis, Swamp Thing became something else.  I'm cognizant of Alan Moore's run.  I wasn't a huge fan, but I respect it.  Moore created a lot of continuity; including the idea that Alec Holland never really was Swamp Thing.  Rather the bog plants duplicated Alec's mind.  Alec's corpse still lies at the bottom of the lake.  Or something like that.  Honestly, I never understood any of this.  I'm a hard science kind of guy.  Moore furthermore originated the idea of Swamp Thing not being one creature.  Multiple Swamp Things exist throughout earth's history.  I presume it's only earth's history.  So, there's a germ that somebody else can be Swamp Thing.  Enter Levi Kamei.


Ram V's story is very literate and reads like the opening of a novel rather than a typical comic book.  The unsettling mood differs strongly from the bouncy pulpy Catwoman.  Mike Perkins' artwork leans into the idea that you're going to be experiencing a work of horror set in the real world. 


The Pale Wanderer is Ram V's cryptozoic conception, steeped in folklore.  He's a combination of Wendigo, Skunk Ape and Chupacabras.   We see the Wanderer's origin story related as a legend by the officer who first broached the subject and later meet the thing in detail.


The incident with the Pale Wanderer juxtaposes with the unfolding of Levi Kamei's transformation into a new Swamp Thing.  The first stage occurs in dreams of an uncontrollable germination, but this is only the setup.  A suspenseful foreshadowing one may find in The Night Gallery or Sixth Sense.  The Gary Collins television series not "I see dead people."  The setting of the plane may be homage to The Twilight Zone.

Levi travels to New York to reacquaint himself with a friend, and the plot thickens in a very unexpected way.


Even if Levi becomes the new Swamp Thing, it doesn't explain who is photographing him, or why.  Do they have anything to do with Swamp Thing, or is this a tail of Levi the human, not who he will become?  So many puzzles.  I found Swamp Thing to be tantalizing. Subscribe.

Monday, March 8, 2021

POBB March 5, 2021

Pick of the Brown Bag
March 5, 2021
by
Ray Tate


Welcome to the second part of the Infinite Frontier Marathon, I'm Ray Tate and for this leg I review Batman and Sensational Wonder Woman.  For the impatient, you can drop down to the end of each review to see the special verdict.  If you're upwardly on a mobile, check me out on Twitter: #PickoftheBrownBag.


Our story opens with Batman in the clutches of the Scarecrow.  His mind turns back to how he ended up here.  In part because he's attempting to combat Dr. Crane's fear toxin and for another because James Tynion believes he can write a film noir. 


This could be the prologue of several such movies.

What was this woman's name? Ba-Ba-Barbara.  Yes.  That's it.  Barbara.  Barbara Gordon.  Why did I forget that name? How could I? Barbara was a sizzling red-head with pins that went up to her ears and had a burning brain between them.  The ears, not the legs.


Yeah, Babs Gordon.  She used to be into costumes and handcuffs.  Then some clown put an end to that and all the fun we had.

Anyway, it's such a ridiculous bit of pretentious writing.  It would have been risible if it had any life to it.  The narrative technique is never addressed again in the book.  Furthermore, Tynion jumps around the point of view as much as he jumps around the scenery.  So, what's the rationale?

The tale could have and should have started on page four with Batman tooling around Gotham's streets in the latest, and may I say, a gorgeous, version of the Batmobile.  


Here we also get the best writing in the book.  The interplay between Barbara and Batman about the car.


Batman's not out for a joy ride.  He follows a group of art thieves in a flying apparatus that looks like part of the Micronauts line of toys.

I may have enjoyed this, but the art theft wasn't just to keep the felons in cycles and flying cars.  The motive is far more esoteric.


Things pick up when the focus shifts back to the car-talk.


Batman pursues the art thieves above, while Babs addresses the ground situation.  She calls in the Ghost Whisperer.


Sorry.  I meant the Ghost Chaser.


Obviously that classic DC character the Ghost Maker.  Are we sure Kurt Busiek didn't write this?  Ghost Maker.  Master Wyze.  Terrible.  Simply terrible.


Ghost Maker sure does like to "make an entrance," but it would have been better for the reader if he presented a card explaining just who the hell he is.

Batman deals with the art thieves quickly, but for some reason I'm just unsatisfied.  The art thieves went out of their way to get some cool gadgets, and Batman just hits them.  They deserved at least a bat taser, or bat bolas.  

Batman joins up with the Ghost Maker, and they quickly retire to the townhouse (?)   So, Ghost Maker is Batman's...houseboy?  Seriously.  I don't know who this guy is.  

For no reason at all, Harley Quinn shows up late to the party.  There's a lot of bleeped out profanity in Batman.  Not just from Harley.

Letterer Clayton Clowes uses bats instead of @%& or redacted black out font.  It's kind of cute.  I just wish it were in a better story.  One that stopped bouncing around like a kangaroo on acid.

Cut to Simon Saint introduced in Infinite Frontier.  He's trying to push his Big Brother Magistrate Program on Mayor One-Eye, Jason Bard II Electric Boogaloo.  See already that monicker is working out fine.  Well, it brings a smile to my face, and that's all that matters.

Cut to Bruce Wayne's Townhouse.  What the hell?


Apparently, Batman lost a lot of money.  Though he still has enough to buy multiple properties with cave rebuilds.  


Honestly.   I'm sure that stellar artist Jorge Jimenez can draw a giant penny and dinosaur robot.  Why do we need these townhouses with Bat Caves underneath?

At least in this scene, we find out about the Ghost Breaker.  


No powers.  Apparently spars with Batman.  
Okay.  How about a name?

Baman is Bruce Wayne, and you are...?

Fine.  Screw you.

Finally, because James Tynion apparently hates the reader.  We return to Mayor One-Eye and his relaxing in the Mayor's Mansion with a little companion called booze.  


Cause that's what I want to see in a Batman comic book.  A one-eyed jerk that I don't care one whit about sipping some...I don't know whiskey?

A beautifully illustrated Robin back up by artist Gleb Melnikov completes the page count of Batman.



The redesign on Robin's costume is fantastic, and Talia looks smashing.  

I'm happy that Talia's doing something normal when Robin shows up.  It's the only normalcy in Batman.

As to the story, well, it's a big info dump about how everybody's abandoned Robin or how he estranged himself.  I never really cared that much about Damien Wayne and I still don't.

Batman is so dull it may as well be called Law & Order: Batman, but it's so pretty that I'll probably buy it as a hardback, if Jorge Jimenez sticks around, that is.  Ignore if you don't like the art.  Wait for the trade if you do.


Sensational Wonder Woman by comparison is the better book.  Without comparison it's still not bad.  First of all, it makes sense.  Second, writer Stephanie Phillips only uses classic Wonder Woman history and classic, visually descriptive characters to relate the story.


Had you never heard of Hawkgirl, you'd still know her name, or come close.  She's a lady with wings.  Self-explanatory, right? Not so with the Ghost Scrounger.

Phillips opens with Diana trapped in a 1950s sitcom.  She's married to a drip named Douglas.


Douglas bears a physical resemblance to a certain blonde pilot who has a penchant for crashing near Themyscira also known as Paradise Island.

So where is Wonder Woman really? Exactly where you expect her to be.

Predictability is the story's one fault.  I mean, we knew Diana wasn't actually married to Douglas and likely in some kind of virtual prison.  We've seen this kind of thing before.  VR.5, made a series out of it.


Way ahead of its time.  You needn't be Sherlock Holmes to deduce the culprit, but I'll keep the identity of Wonder Woman's jailer a secret.  Phillips however doesn't cloud the captor's motive.  There's no "the city is broken.  Batman doesn't see it yet" sort of rubbish.  The Wonder Woman villain is single-minded.  He just dresses up his want with a different attack.

Phillips' story is a linear juxtaposition between only two settings: Diana's mind and reality.  Phillips displays the problem.  Introduces the guest-star.  Then reveals the puppeteer behind the whole trap.  The tale also benefits from a subtle depth.

Consider, Wonder Woman conceives of a man that looks like Steve Trevor but isn't Steve Trevor.  She picks out his name at random and pins it to him like a boutonnière.  

While under the influence of the mind probe, Diana conceived of a man she finds physically attractive, but that's as far as it goes.

Diana knows her Steve would not want her to be trapped in a 1950s sitcom.  He wouldn't enjoy the social mores, any more than she would.  In her heart, she knows that her Steve would always be a good man no matter where or in what time she meets him.  Else why would she fall in love with him.  So Douglas looks like Steve on the surface but will always be Douglas.

As Diana begins to question the virtual surrounds, artist Meghan Hetrick pays homage to the 1953 Chuck Jones, Michael Maltese short, "Duck Amuck."


Her art though dependent on elegant simple line work in addition exhibits a degree of complexity that's first felt and later subject for analysis.

In the 1950s setting, Hetrick captures the optics through one camera, one angle.  As Diana shakes loose the bonds of nightmare, the visual becomes more dynamic.


Hetrick breaks the step of Republican Shangri-La.  She presents close-ups, Off-kilter composition.  The illusion of preternatural speed.  Metaphor and drama.  That kineticism grows with each turn of the page.

Simultaneously, Marissa Louise's colors become more substantial with nuanced shading and the like.


Notice how the art team now combine to not only make Wonder Woman more dimensional but also sensual.  The wild hair.  The confident look, the threat of her fists all convey what a 1950s sitcom husband would consider wanton.  That's the point really. The confinement of sexuality.  A woman must not appear sexy.  She must be properly restrained and on the leash held by man.  Subscribe.