Another week, another slate of comics. Let's dive into the spoilers!
DREAD'S BOUGHT/THOUGHT FOR 8/10/11:
BOOSTER GOLD #47: This is the final issue of this volume of the series, due to DC’s “NEW 52” relaunch of their entire superhero line next month. The issue number is actually understated; there was a zero issue, and a 1,000,000th issue (to homage past DC events), so this is actually the 49th issue of BOOSTER GOLD in a way. Very few volumes of any franchise last nearly 50 issues in today’s market or perhaps many past ones. Unfortunately, due to the seemingly last minute decision by DC to relaunch their entire universe, that means this final issue doesn’t quite feel like a proper finale to a series that has run for over four years; it merely feels like the story coming to an abrupt halt.
This is the only regular DC title that tied into their FLASHPOINT event properly, which makes sense as Booster Gold is all about time-traveling. He has thus found himself in the new (and temporary) altered DC Universe in which the planet has been ravaged by a war between Atlantis and the Amazons, and America has become a police state. The man Booster knew as the hero Captain Atom is now a general who mentally controls the monster Doomsday to do his bidding via a psychic helmet. Booster’s mission has been to protect the main DC time line so often that he merely assumes this is another one which he can undo. Unfortunately, all he has managed to do is survive, and run into another metahuman named Alexandria. Both have been arrested by General Adam and are being assumed to be Atlantian terrorists. What follows is an escape, a final showdown against the unstoppable monster as well as a bit of obligatory deck clearing. Even Doomsday’s demise is fairly abrupt and almost “too easy” due to only having twenty pages left.
Dan Jurgens, up until the last issue, had been the writer and penciler of this series since returning to it months ago. However, under the “NEW 52”, he is set to write one book (JUSTICE LEAGUE INTERNATIONAL, which will star Booster) and draw another (GREEN ARROW), with probably less than three months of lead in time. Thus, he only draws three pages (alongside inker Norm Rapmund), and leaves the rest to Rick Leonardi and Don Ho to trudge through (with colors by Hi-Fi). The art is serviceable overall, although some pages and panels seem to look rushed, with some awkward poses and facial expressions.
Final issues in comics are often not ideal finales, but finales of circumstance, and this is no exception. In rapid succession, Alexandria is killed off while Booster starts to “forget” what his proper memories and time line should be, as the regular DC Universe shifts around him. The Flash has an obligatory cameo – as the cover notes – but it is merely to serve as spit and cough appearance by the star of FLASHPOINT and to set up Alexandria’s death by a stray laser blast – perhaps one of the most random, awkwardly staged and obligatory deaths of a female character in some time. She seems to return as some sort of time-phantom who writes clues on Rip Hunter’s blackboard – a gimmick DC has used to promote future stories for about five years. Was she always the one who did that? Who knows.
A wrap-up take on this series is in order. I read DC’s first weekly comic book series, 52, back in 2006-2007 and BOOSTER GOLD was a natural spin off from it; even if it took about a year for that to happen. Geoff Johns co-wrote the series at it’s launch, with Jurgens on artwork; eventually, Jurgens would take over on art and story for most of the series’ run. Chuck Dixon did his last DC work for a fill-in run, and Keith Giffen, J.M. DeMatteis and Chris Batista took over the series for about a year as Jurgens did a TIME-MASTERS mini series to help promote THE RETURN OF BRUCE WAYNE. While the Johns written stories often had moments of comedy to their drama, Jurgens – as the creator of Booster Gold – mostly took a different tact, sticking to rather straight-forward superhero adventure. His stories sometimes had wisecracks, but he seemed focused on having Booster grow up and be a serious hero – not grim, just not a comedy tool. The downside of this it that it made the stories blander than they could have been. On the other hand, the run written by Giffen and DeMatteris – the “BWA-HA-HA” writers from JLI’s glory days in the 80’s – tilted too far in the other direction. BOOSTER GOLD under them often felt more like a comedy routine that a superhero story kept interrupting more than anything else. As for Dixon’s issues (drawn by Jurgens), he was mostly a Batman editor/writer, and they dealt with a Batman plot – shocking. Two other issues were written by someone else, but memory fails because they were unimpressive.
BOOSTER GOLD was a title that I picked up from DC during a time in their recent history when their universe seemed inviting as well as superior to some of the negative drum-beat of Marvel Comics stories. It was a title I read through thick and thin and it remained a highlight of DC to me. It was a title I didn’t need to know much continuity to enjoy, and it was self contained. Even crossover tie-in’s worked better than in most series due to all the time travel and alternate timelines. While some issues felt bland, generic, or lacking in substance, others were very powerful and exciting, with a capable lead character and cast. No issue was really bad or atrocious, which is a feat for 49 issues – when the worst you can say of an issue is that it was “average”. Many comics that have run twice as long would be lucky to claim that. Despite that, it did feel like a title that was past it’s prime for about two years now, and thus saying good-bye isn’t terribly painful.
What will JUSTICE LEAGUE INTERNATIONAL be like? Do I dare to wade into DC’s latest mess of continuity to try it out?
AMAZING SPIDER-MAN #667: This is the official kick off issue to the SPIDER-ISLAND event; the last issue was sold as a prelude. In reality, that merely justifies the story being 8 issues long (published over six months, of course). Sales figures on July's issue #666 show that with sales over 135k, it was under 200 copies shy of where FEAR ITSELF #1 sold in March - which is a testament to Marvel's promotions as well as a sign that their "bigger" annual event may be wearing thin on readers. Dan Slott is easily telling a stronger narrative here than Matt Fraction, which he has been properly building to for months. If there is any reason why this issue is considered the "official" opening chapter, it is because there is a huge brawl at the end of it. Picking up from the last issue, the issue begins with a delightful cheat regarding who has the bigger secret (Peter Parker or Carlie Cooper) as Jackal's scheme to flood Manhattan with Spider-Men goes underway. Not only have his genetically modified bugs caused "hundreds" of New Yorkers to develop powers akin to Spider-Man via a bite, but Jackal has organized a large collection of the worst lot of them - the ones who were criminals or ne'er do wells even before they got powers - and is having them rampage in various Spidey costumes to sow chaos and ruin the web-slinger's hard won positive reputation. While this is a nightmare for Peter Parker, it is a godsend to J. Jonah Jameson, whose "Anti-Spider" protocols as mayor are now making him look like a hero. While one may have hoped for some more three dimensional stories out of J.J. after the murder of his wife months ago, he continues to be used in fairly predictable, if not still funny, routines. The purpose of all this for Jackal is unknown - like Mr. Sinister from the X-Men franchise, he appears to get off on far out scientific experiments that usually involve a lot of pain and mayhem. Given that he more than knows Spider-Man's secret identity, it is perhaps a large scale move to "get to him". When a gang of superheroes - including Peter's allies in the Avengers and the Future Foundation - turn up to repel the mob, Spidey learns he's swung into one fight he shouldn't have.
Among those "infected" is Cooper herself, who seems intent to use her powers as a super-cop, and even wants Peter to make gadgets for her; the lengths through which Peter Parker seems to refuse to reveal his identity to Cooper despite it not making any emotional or even tactical sense remain about as amazing as the title. Seriously; Cooper not only is in favor of Spider-Man, and is enjoying having super-powers, but is completely accommodating of a superior officer in the NYPD being the vigilante Wraith. She literally has a tattoo of the web-slinger on her stomach (which, somehow, some low-rider jeans somehow manage to cover). Peter Parker was willing to unmask for Black Cat, who at the time was a temporarily reformed and highly eccentric cat-burglar (and MJ had figured it out since they were teenagers), but a perfectly sexy, smart, and eager NYPD officer is a bridge too far in the trust department. Spider-Man literally trusts Wolverine and Hawkeye with his identity more than a cop he happens to be sleeping with who does everything but cheerlead for his alter ego - at this point, needless romantic angst may be Parker's fetish, for he does so much to bring it upon himself. As for the SPIDER-ISLAND event proper, the latter half of the issue degenerates into a brawl, and while it is cute seeing virtually every Spidey costume ever designed worn by a small army of imposters (as well as a nice clone joke), Humberto Ramos does seem to show some sign of rush with his pencils here. Thanks to Carlos Cuevas' inks and Edgar Delgado's colors, however, the art still flows properly - it just isn't as strong as Stefano Caselli, or some of Ramos' prior issues on this title.
While Jackal's plan is so far crude to the point of insanity, it manages to be more entertaining thus far than FEAR ITSELF. If this issue showcases anything, it is that if Peter wants to prevail in this crisis, he'll need more than his brawn or even his closest costumed allies. Given that much of BIG TIME has been to showcase how brilliant Peter really is when properly motivated and funded, the finale could be quite an epic moment for the web-slinger. While one could call this "MAXIMUM CLONAGE done right", it also is another sign that Marvel's best events are the "mini" ones. If there is one caveat, it is that the new Madame Web (Julia Carpenter) is playing the "vague psychic figure who stands by the sidelines and talks in riddles and narration" card a bit too rigidly - even if Slott does make one joke about it. There are plenty of continuity nods for long time fans too; as solid as this issue is, better ones are likely to come once SPIDER-ISLAND reaches it's second and third acts. For the record, Kaine is now the Tarantula; not to be confused with the three assassins from Delvadia who used that name, nor Black Tarantula, who was killed in SHADOWLAND. The clone who may or may not be Ben Reilly is also known as "Spider-King" now. They're merely growling henchmen. Any Scarlet Spider mysteries will also have to wait for later chapters.
SPIDER-ISLAND: CLOAK AND DAGGER #1: Or, CLOAK & DAGGER: SPIDER-ISLAND from how the title is positioned on the cover. This cult franchise from 1982's SPECTACULAR SPIDER-MAN #64 (by Bill Mantlo and Ed Hannigan) is back for their first new comic of the year. Given that these characters have struggled to bring in sales as either a mini series or an ongoing series for roughly two decades now, it could remain a fair question as to why Marvel have decided to given Nick Spencer (MORNING GLORIES, SECRET AVENGERS) and artist Emma Rios three issues to play with. The answer is threefold. One, it is corporate synergy, as Jeph Loeb is working to get a "CLOAK & DAGGER" TV series made on ABC or ABC Family in the near future. Two, Marvel wants to sell more SPIDER-ISLAND tie in material. Thirdly, given Marvel's current publishing strategy of surpassing DC by sheer volume (as well as sales), any cult franchise will see it's turn on the Wheel Of Solicitations soon enough. In fairness, as a spin-off to a Spider-Man comic much like PUNISHER was (only far less successful), it isn't too out of place. Their last one shot was in 2010, and it spun off the characters' involvement in the DARK X-MEN/DARK REIGN subplot. Given how tight the budget has been lately, I initially considered discarding this issue in favor of saving a few bucks; having pre-ordered it, I buckled and bought it to not inconvenience my small comic shop. It proved to be a fortunate gesture, as this proved to be the best book of the heap - even more enjoyable than AMAZING SPIDER-MAN #667, which gets SPIDER-ISLAND rolling.
It becomes obvious very quickly that Spencer and Rios don't plan to delve very far into the SPIDER-ISLAND event and just have their characters appear for a big fight scene simply to appease the editorial obligation. Most of the issue is spent reintroducing the characters to the audience, from their 1980's origin to hints of recent events with the X-Men. Tyrone Johnson and Tandy Bowen were two strangers brought together on the mean streets by fate and unfortunate circumstances regarding a drug cartel. They would up gaining super-powers from their horrific ordeal which made them further connected to each other besides sharing the same traumatic experience, and became the vigilantes Cloak and Dagger. The two have a black and white outlook on life, which Spencer showcases with clashing narration boxes depicting their outlook. Cloak is content to focus on being a vigilante, taking on the criminals and sometimes sending them to the wretched Darkforce dimension in his cloak. Tandy, however, craves for some normalcy and seems to only remain a heroine out of faithfulness to Cloak or to burn off occasional steam. The pair are evicted from the church they've been living in due to building code technicalities and decide to become "heroes for hire", advertising their services in Time's Square (not to be confused with the actual HEROES FOR HIRE). They wind up smack in the middle of SPIDER-ISLAND's opening brawl, but that merely serves as a distraction to the main plot, which sets them on a course with a fairly recent underworld figure.
Rios has a very moody and expressive style, and mixed with Javier Rodriguez's colors, her work looks little like many comics that Marvel publishes. Perhaps the biggest surprise, however, is that Spencer's script is far more comedic and light hearted than one would believe. Prior issues and runs of stories featuring these two tend to be gritty, "serious" urban adventures; this issue spends a large sequence making fun of bureaucracy and even is willing to make the usually moody Tyrone the butt of a joke. That isn't to say the story isn't serious; the harshness of their origin is not stifled, and it invoked via powerful montage pages, and the villain at the end is no laughing matter. Above all, the characters are both made distinct and memorable as well as remaining faithful to what one expects of their personalities - which is a success for a debut issue. In fact, the only quibble is that this is a three issue mini, and not an ongoing series. Nick Spencer seems to be all over Marvel lately, but outside of ULTIMATE seems to stay on a book no longer than four issues. What mired his SECRET AVENGERS run was not only the inability to tell a story that "mattered", but his need to get preachy. This issue has no preachiness and far more humor than SECRET AVENGERS did. In a way, Rios' art can seem out of place for humor, and her action sequences are not her strong suit, but the rest of the issue is very pretty to behold. Given how Dagger's costume barely covers the front of her torso, Rios wisely avoids a lot of tasteless T&A shots.
Quality can often come from unexpected places, such as David Liss and Patrick Zicher's MYSTERY MEN. What may have seemed like a spare crossover tie-in mini is in fact a great reintroduction of some cult characters as well as what promises to be a short and solid adventure with them. Given that it's at the regular price of $2.99 (albeit for 20 pages of story, Marvel's "new normal"), there's little reason not to give it a gander.
ALPHA FLIGHT #3: Much like CLOAK AND DAGGER, Marvel has used the cover of a crossover event to justify a mini series featuring a cult B-List franchise. Unlike CLOAK AND DAGGER, at least one volume of ALPHA FLIGHT was successful, lasting well over 100 issues back in it's prime. Also like CLOAK AND DAGGER, references to the crossover event that this series is technically apart of seem to be editorial obligations, not key to the central narrative. That is fine, because the reverse makes all the tie-in tales seem similar (as seen in far too many SECRET INVASION and DARK REIGN tie in's). Greg Pak and Fred Van Lente continue their take on Canada's top superhero team, as they are essentially kidnapped by the corrupt Unity party and then made into fugitives when they escape being brainwashed. The tyrannical Gary Cody, who is Canada's new Prime Minister, has exploited the FEAR ITSELF crisis to command marshal law over all of Canada, and Heather Hudson/Vindicator is on his side! The rest of Alpha Flight all reunite in their escape from Department H - including their most well known formerly deceased member, Puck, who had been delayed due to having to appear in WOLVERINE. As the cover suggests, a key scene is the mental battle between Aurora's two split personalities, which quickly shifts from awkward to violent on panel. The artwork by Dale Eaglesham, inker Andrew Hennessy and colorist Sonia Oback is terrific, with them having a wide range of bizarre characters to feature. The story's biggest hurdle is Heather's portrayal as a literally vindictive figure, willing to betray, brainwash, and attempt to kill not only her husband Mac/Guardian, but people she considered friends for decades. Both Guardian and Vindicator have rarely been on panel at the same time at once, and it is a shame that Pak and Van Lente have solved that problem by making one obviously evil; especially as if either of the two would be loyal to authority regardless of consequences, it'd probably have been Mac. On the plus side, the dramatic reinvention of Marrina has made her far more memorable. Hardly as light-hearted as the initial issue suggested, it still is a solid outing for a superhero team many fans dismiss.
The only positive thing I can say is that Immonen does a great job on pencils.
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