Showing posts with label Suicide Squad. Show all posts
Showing posts with label Suicide Squad. Show all posts

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, November 13, 2017

POBB November 8, 2017

Pick of the Brown Bag
November 8, 2017
by
Ray Tate

Welcome to the Pick of the Brown Bag, a weekly review column created and operated by yours truly.  For this entry, I’ll look at the latest issues of Hellboy and the BPRD, Red Hood and the Outlaws, Spirits of Vengeance, Supergirl, Superwoman, The Titans and the Unbeatable Squirrel Girl.  I’ll also briefly examine the new book Coyotes.  First, a short review of Thor Ragnarok.  


Go see it.  It’s as funny and smart as Guardians of the Galaxy.  Thematically, Thor places the Thunder God in a cosmic environment.  So, we see Thor as a really old alien, doing things that many will consider out of character.  Once you see the interaction, you’ll get it.   As previews revealed, Dr. Strange appears, and he is in the movie far longer than expected.  Hulk and Bruce Banner as portrayed by Mark Ruffalo is the prime guest star, contributing to the humor and the action.  Tom Hiddleston returns as Loki, in perfect duplicity.  Tessa Thompson adds another component to the Asgard/alien world motif.  Idris Elba makes for a meaningful Heimdal.  Cate Blanchett brings droll wit and pathos to Hela, the goddess of death.  She’s still quite mad though.  Karl Urban’s Executioner echoes the comic book version while Jeff Goldblum camps it up proper as the Grandmaster.  The lion’s share of difficulty lies on the broad shoulders of Chris Hemsworth who educes depth, joviality and warmth from a straight good guy already explored in three different films.  How Hemsworth distinguishes a worthy Odinson from his comparable compatriot Captain America is particularly notable.

Spirits of Vengeance describes Johnny Storm, Damien Hellstrom, Blade and Satana.  In the premiere, a strange man asked Johnny Storm for help and left Johnny with the silver bullet that wounded him.  The bullet proved to be a costly mistake for the forces of evil.  The demons wanted that slug back, but Johnny Storm isn’t a mere trick cyclist,  He is the Ghost Rider.


After dealing with the brimstone miscreants, Johnny consulted Damien Hellstrom, who classed up his wardrobe considerably.  Through Damien’s connections, Johnny and he learned that they had to save the world.  Damien also alerted Blade for added muscle and monster killing.


David Baldeon from Monsters Unleashed makes this book a stunner of comic book goodness.  This could have easily been a too dark to see type of book or a sludgy realistic title.  Instead, it’s a comic book.  Part cartoon.  Part realism.  Smooshed together in a visual narrative that enhances Victor Gischler’s engrossing story.

Gischler steeps Spirits of Vengeance in Christian mythology.  This is not so much the religion as it is a pantheon and legend pulled from The Bible, promising a different kind of armageddon hopefully thwarted by the Spirits of Vengeance.  


This issue also formerly introduces Satana to the mix.   I love Satana.  Not as much as Tigra, but my love for Satana is just as pure.  I first encountered Satana, as I did Tigra, in Marvel Team-Up.  

I knew zero about her, just that she looked way different than any female hero I ever saw before.  Artists Mike Vosburg and Steve Leialoha illustrated her as extraordinarily powerful and sensual, again like John Byrne’s Tigra.  I started digging.  I discovered more about her.  Unlike Tigra, Satana’s stories fail to add up to any coherency.  In fact, her appearance in Marvel Team-Up is the outlier.  Had I first picked up Vampire Tales, I probably would have ignored Spidey and Satana. 


Most agree that she’s the daughter of Satan, brother to Damien Hellstrom and a succubus to boot, but the execution varies drastically.   In Spirits of Vengeance, Gischler and Baldeon give Satana a stronger look and a sharper history that will appeal to those who judge Satana by her encounter with Spider-Man.  At the same, time, they demonstrate slices of her other history while framing her as a champion.


Red Hood and the Outlaws battled Batwoman’s group from Detective Comics and lost.   For reasons that escape me, Batwoman sent the the Outlaws to Belle Reve, home of the Suicide Squad.  Batman and Amanda Waller share a mutual hate for each other.  Batwoman’s actions therefore must have been temporarily outside of Batman's purview.  I imagine all hell broke lose when he learned of this outcome.  Still, he probably had faith in Jason Todd and his ability to escape the clutches of a terrible idea that, as writer Scott Lobdell and artist Dexter Soy demonstrates, colors way outside the legal system.


Ah, let me count the violations.  Number one, Red Hood and the Outlaws were never formerly charged.  Number two, they never received a trial.  I doubt they were informed of their rights.  Number three, douchebag Captain Boomerang is in full uniform and even if a trustee should not be present even as an observer.  Number four, the Red Hood is unlawfully bound and number five, gunmen threaten a bound Red Hood.  Belle Reve is the original black site.  Not to worry.  Batman’s faith in Jason is well placed and displayed in an exciting scene.  It's actually above the average action hero's capabilities and worthy of a Batman Family member.


Harley Quinn in the context of continuity and not the Palmiotti/Conner cosmos is utter lunacy.  Though she is indeed a doctor of psychiatry and medicine, one’s never without the other, you cannot help but see the horror movie that could have happened if her subject wasn’t Artemis.

It’s not to long before the Outlaws encounter the real queen snake of the hellpit.  Amanda Waller.


This is where we discover the way out of Belle Reve that doesn’t require the Red Hood living up to his promise and desires.  You can also see the consequences precluded by Bizarro’s amped up brainpower.  Solid entertainment.


The Titans’ present is threatened by a villain from their future.  Meanwhile, Wally’s still dead, and there’s a whole lot of interesting twisted things happening that can’t be discussed without giving away the intricacies of the plot.  So, you’ll have to drop all the way past the rest of the reviews before getting the spoilery gist.


With this issue of Supergirl writer Jody Houser joins Steve Orlando to fully establish a new comic book season.  Director Bones of the D.E.O. serves as the antagonist and catalyzes the main arc.


For those unfamiliar, Mister Bones is a former super-villain that wore the outfit of the 1940s hero the Black Terror in Infinity Inc. near the close of the Bronze Age.  His power in addition to super strength and stamina is the touch of death.  


Exactly what kind of hero has and uses the touch of death? Although his words may be sincere, I’ve seldom considered Bones a good guy. 

Orlando wrote Cameron Chase as a tight-ass dullard who constantly belittled Supergirl.  Chase can never beat Kara in a fair fight.  So, she attacked her confidence while counting on Supergirl to save the day.  That bitchy, double-faced jackassery wasn’t very satisfying and tactical idiocy.  

Bones on the other hand wants to smack Supergirl down and force her to divulge the identities of other champions.  A keystone hero even in the new 52, Supergirl can reveal Clark Kent, Bruce Wayne and Barbara Gordon.  There’s a good chance that she also knows Barry Allen.  Whereas Chase was an imbecile, Director Bones is dangerous. 


Supergirl returns big in this new story.  Saving humans and puppies.  However, as in the television episode, “Falling” Kara's recent actions divided National City, including Cat Grant.  It’s likely that she’ll win back that trust.  Supergirl’s too shiny to stay tarnished for long.  The D.E.O. is another matter.


In addition to magic bullets—a surprise reference to the Sandman—the D.E.O. also invades Kara’s school.


Houser and Orlando essentially transform the D.E.O. into the Gifted’s Sentinel Services itself a thinly disguised metaphor for the Nazis.  Oh, they’re not that bad, says you.  After all the D.E.O. gives Supergirl a chance to surrender, her rights, that is, and the agent clearly states “hold your fire.” 


Yeah, for every decent D.E.O. agent that appears to understand the rule of law, there’s about ten bad ones.  One need only remember that the Nazis ran parallel to the German judicial system, until they took that over, committed genocide and attempted world domination.  Things won’t get that bad in the DCU because it’s got superheroes willing to fight for the rights of others and their fellow capes and cowls, but still the D.E.O. in Supergirl is a chilling little reminder of history.  I would say it’s a portent for things to come, but a glimmer of hope begins to spark as Robert Mueller begins arresting people and a corrupt, soon to be removed Republican Party still says overwhelmingly no to the rape of fourteen year old girls.

As Supergirl progresses, Houser and Orlando flesh out Kara and the Danvers.  This broadening and deepening of character nevertheless still focuses on the D.E.O.’s hunt for Supergirl.  

That speech about compassion could have very easily been delivered by Melissa Benoist.


Orlando introduced the Danvers as married D.E.O. agents assigned by Chase to be Kara’s handlers.  This theme collided with the television series in a bad way.  Orlando tried to fuse new 52 Supergirl with the far better television series, but he failed because the parts just didn’t mesh.  This new think on the Danvers is much stronger.  Assigned as handlers, the Danvers proved to be Kara’s ally when it all sank to the bottom.  They care about Kara so much that they essentially adopted her and contribute to her secret identity.

Houser and Orlando keep cast member Dr. Shay Veritas.  Veritas already Superman’s personal physician eliminated Kara’s data from the D.E.O. database.  Bones threatens her in a way I haven’t seen before.  Even if you’re of the narrow mind that Kara being a Kryptonian nullifies her legal standing, Veritas is a female Homo sapiens with unalienable rights.  So, if you didn’t think that Bones crossed a line before, he clearly does so here. 


In Superwoman we learn the nature of the new villain Midnight.  Lana Lang is Superwoman, and the reason why she’s Superwoman comes slapping her back in the face.  Her epiphany isn’t optimistic and it gives Midnight just the crux needed to press her victory.  


Superwoman that succeeds because writer Kate Perkins characterizes a cast of very different powerful women in the presence of a straight-up super hero vs super villain plot.  Midnight has ties to past continuity shown in flashback, but it’s nothing you really need to delve into too deep.  As Perkins, deals with the duality of antagonist/protagonist, artist Stephen Segovia draws upon big budget disaster films to define Lana’s enemy.


This issue of the Unbeatable Squirrel Girl takes the form of an anthology.  So, the collection is naturally hit or miss.  In the first story, Squirrel Girl smacks around a minor thug accompanied by some weird dialogue.


The story then switches to frequent Squirrel Girl guest star Howard the Duck in private eye mode.  The one pager hilariously answers the question how does one kiss a duck’s bill passionately?


Brain Drain is up next with some loopy existentialism, science and comedy.  Loki shows up for no reason at all in the interactive portion of the book that’s actually fairly clever.  Spider-Man and Kraven each relate comedic point of view stories about the other.

The original Wolverine story stands out for exemplifying Logan’s growth and altruistic behavior instead of his infamous berserker rage.  Tippy-Toe gets a short, and bizarrely Jim Davis, that Jim Davis, illustrates the comedy stylings of Galactus and the Silver Surfer.  Some of the gags are genuinely funny, and Davis’ wide eyed take on the Silver Surfer always keeps the reader amused.


Coyotes is a bizarre urban fairy tale in which orphans are brought up by a kind of beneficial madame of a high class brothel that doesn’t actually serve up sex.


I don’t know what else to call this establishment.  It’s not a boarding house, at least not a traditional one.  So, I’m left with looking at the visuals and piecing out something.  

A coyote is a transporter of human traffic across the border as well as a canid, but neither definition fits what we see in Sean Lewis’ and Caitlin Yarsky’s story.  This is more like The Girl With the Dragon Tattoo wrapped up in a werewolf story.  If that sounds good to you, check it out.


Overall, I’ve not been enjoying the new Hellboy stories situated before his premiere.  The cold war angle isn’t too bad, and the monsters are good, but I find most of these tales unnecessarily talky and belaboring a point already made.  The latest exemplifies my caveat.


Ugh.  Who cares?

At least sturdy action sequences and some monster punching attempts to balance out the needless exposition.



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Originally, Donna Troy was an orphaned baby that Wonder Woman rescued.  Diana naturally took her to Paradise Island where she became Wonder Girl.  Man, what could be simpler? When George Perez rebooted Wonder Woman from scratch in the post-Crisis, Donna Troy no longer had an origin, yet she still stubbornly existed.  The subsequent origins that Donna accumulated became increasingly more ridiculous.  One such tale indicates that the Titans, the mother and fathers of the Greek Gods, imbued Donna, to preserve their memory or something.  She even gained the stupid name of Troia.  Troia returns this issue, and Dan Abnett combines the stupid name with Donna’s new 52 origin, which is in fact similar to Wonder Woman’s original beginning, that of a golem forged from clay.


So, the future Troia traveled to the past to spare Donna the misery that will befall her, because Donna it turns out is eternal.  That sort of makes sense.  She will outlive her fellow Titans, and Troia seems to be on the up and up in that she knows how the Titans will die.  


Dan Abnett however is a science fiction writer.  So, I’m certain that he's aware that Troia changed the future just by appearing before Donna.  Donna in turn defies her destiny, and in the meanwhile, Wally West tries to resuscitate the original dead Wally West.  This is some heady stuff, but nevertheless fascinating.