Buffy the Vampire Slayer #12
So yeah hey, everyone's a little gay. Even that ending made my brain go...places.
I feel like I should have more to say about that, or feel a bit more strongly either way about the whole thing, but for the most part I was pretty distracted by the utter hilarity of the issue. I mean seriously. I lost it entirely by the time Dawn peaked in through the window.
And then there's actual plot stuff! I know, it's hard to imagine anything
else going on in an issue with girl-on-girl action, but this was actually the most forward-moving the actual overall plot of season eight has gone in a while. Vamps are making a comeback, except that they're Japanese and therefore much more powerful (trust me on this), and they've targetted the Scythe, which would actually make sense if you're annoyed about having a billion Slayers in the world. I predict that by the end of this, we'll be finding out new and interesting things about the Scythe, and in fact the Scythe itself is going to undergo a change -- a power-up, if you will -- turning into the shape that we saw in Fray and in the upcoming Fray-crossover solicit. Trust me, a hero's arsenal upgrading itself to fit with said hero's trials-by-fire/emotional-growth-process/coming-of-age happens
all the fcking time over in the east. And where exactly are the Scoobs heading? Oh, yeah, the un-west.
Trust me on this, my logic is
flawless.
(8 out of 10)
Justice League: The New Frontier Special
Get this. Get this
now. You! Go! Now! Thank me later. It's possible that my hard-on for the New Frontier clouds my judgment a bit, but that's just silly and is silly.
It's remarkable how Cooke managed to take a fight that's been iconic and overdone and iconically overdone over the past decades -- Superman vs Batman -- and still have it feel fresh and exciting. I mean, even when you look at this fight, it pretty much follows the archetype of every single other time these two have butted heads, like in DKR or in Hush or whatever: Superman goes into full-on damn the torpedoes mode while Batman keeps befuddling him with his expensive toys. And yet the way it all comes across...it's like we're reading it for the first time. In a lot of ways, I suppose we
are. Even if "Superman" and "Batman have fought a lot, this is the first time that
this Superman and
this Batman have fought like this. And
this Superman and
this Batman are very distinctive enough to practically be their own characters, even if all they are are interpretations of characters that's been around forever. It's almost as if Superman and Batman aren't so much characters as they are character types.
Much props have to be given to Cooke, also, for Wonder Woman here; it's very very easy to see why his "version" of Diana is so often lauded as a lot of peoples'
favorite version of Diana. Something as simple and unremarkable as her stopping the fight between the two men seems so simple and unremarkable, but -- and I doubt I'll ever be able to explain this cohesively -- the way it was carried off just feels like truest core of the character, like Cooke absolutely understands how much of the character this honors.
Or I dunno, maybe I'm just talking crazy.
What I love is how she refers to
Superman as their savior. I mean, the whole situation here is that he just acted like a big idiot and she just
lectured him on him acting like a big idiot...and yet, deep down she knows that
he is the one that ultimately matters in this world. Superman is exactly the sort of man that Wonder Woman realizes this world needs, the exact kind of man that she was sent here to...nurture. Iconic, profound character moments like that
feel like they should be more prevalent, and yet very few comics will ever indulge in them.
And then there's some great stuff with Robin and Kid Flash in a nostalgic sixties youth James Dean sort of thing; I don't even really know how to describe it, it was so before my time. And yet it fit perfectly with both characters. And then a fun little scene with Wonder Woman and Black Canary which puts the top in "over the top."
(9.7 out of 10)
Nightwing #142
The comic to read if you want to see a superhero be effective.
Also, the comic to read if you want to see Tim Drake
not be a giant *****ebag.
It's all chugging along, doing its relatively decent thing. Tomasi does his great dialogue and his genuine-feeling interactions between characters. Still, I'm waiting for the sht to hit the fan and make it cry. There's just no gravitas right now. And I know -- I
know -- that Tomasi is capable of the gravitas. He made gravitas his very own btch during Black Adam. So where is it now?
(7.6 out of 10)
Teen Titans: Year One #3
Why is Speedy shaped like a peanut?
If it were any comic but this, I'm sure I'd be whining about how easily the Titans took down members of the JLA. But, man, cuteness overload tends to forgive a lot.
Even still, it's all relatively believable, especially keeping in mind that they were all controlled by an alien force during the issue and probably weren't operating at 100%. Wonder Woman
does need to breathe and
is vulnerable to gasses. This was, like, two minutes into Green Arrow's career, he could conceivably get pantsed by Wonder Girl. Aquaman is...well, he's Aquaman. The only one that seems too easy was Flash, really, and even then one should consider the fact that Barry was never as fast as Wally has become.
With that aside, another great issue from Kerschl, with the requisite adorable art and simplistic but effective storytelling. Also Batman's a dick whether he's controlled by an extradimensional being or not.
(7.9 out of 10)
The All New Atom #21
Well, thankfully, it's not bad.
It is, on the other hand,
incredibly different from Simone. Remender tries to and does succeed quite well in following up on Simone's [rather incohesive] plot points; no continuity problems whatsoever to speak of, no differences in character or otherwise. He obviously read through the prior twenty issues, and Buffy bless him for that. The problem is that the tone of the All New Atom has
never been about the continuity or the plots; it has always been about, well, the tone. The out-of-control, crazy-ass wacky funny tone. This is a lot...less of that. It's not really funny anymore that Ivy Town is in immenent threat of destruction.
I mean, there is
some of that here. I was feeling all unhappy and unfun from all lack of happy and fun through the issue, and then from out of nowhere Head shows up to do his Head thing. Oh, Head. Never change. Like I said, bless you Remender for at least doing everything that a new writer continuing on an established series should be doing, which is not neglecting what was great from the old stuff. I say "at least," but it counts for so, so much.
What this has going for it, though, is that...it's Ryan. It's the same Ryan Choi that we've stuck with and gotten into for the last twenty issues, and there ain't nothing wrong with that. It feels, at worst, like reading about the character in a different series. As long as it's Ryan, I can live with that.
What I worry about is the series becoming generic. If he doesn't want to follow up on Simone's tone, which is entirely his perogative, I at least want Remender to establish his own definitive tone ASAP, I really do, because I worry about this series being about "yet another superhero with his revolving list of problems." Basically, I worry about him becoming Spider-Man.
*
shudder*
Now that would
really be unhappy.
(7.3 out of 10)
Supergirl #27
...I'm so confused.
When did this series get so good?
I mean it's not the stuff of Whedon or anything, but this...this is like a good series. I know that it had been good under Bedard, but Puckett had been pretty average on it so far. But then this issue happens and it's like a good series or something! The plot, the dialogue...this is no longer a series that I glance at occasionally, hoping that it'll get better, this is actually a series that I'm looking forward to seeing.
Man, what a weird thought. Supergirl being a series I like? It's...it's been so long.
(8.4 out of 10)