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X-Men/Dark Avengers: Utopia (Review/Retrospective)

This is the fourteenth in a series of comic book reviews that will look at the direction of Marvel’s shared universe (and, in particular, their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

There’s an essay to be written about how Marvel has so carefully and meticulously replaced the X-Men with The Avengers as their biggest A-list franchise book (in fact, there’s a quite wonderful essay written here about that). During the nineties, the big event crossovers at Marvel seemed to exist at the leisure of their mutants – Age of Apocalypse and Onslaught being two of the more obvious examples. However, since House of M, the mutants have been consciously sidelined. They continue to have their own internal events and crossovers – Messiah Complex and Second Coming the most obvious examples – but they remain largely insular and detached from the regular goings on in the Marvel Universe. Except for Wolverine, because he’s everywhere.

Marvel announces Dark Avengers on Ice!

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Final Crisis (Review/Retrospective)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. I’ll be looking at movies and episodes and even some of the related comic books. Later on today, we’ll be reviewing Superman/Batman: Apocalypse, so I thought I might take a look at a comic book tale which was heavy on Superman, Darkseid and Batman…

This epic elegy for a doomed civilisation, declining from splendor to squalor. This Final Crisis. This last ditch attempt to save creation itself from a loathing and greed beyond measure.

– Grant Morrison outlines the whole point of the book, in case you weren’t paying attention… in a narration which deserves to be read in the most pompously ridiculous style possible

Look, I could hitch a ride back with you. I have a real talent for gritty drama no one’s ever thought to exploit.

– Merryman makes a pitch for “relevance” in the hopes of escaping comic book “limbo”

Destruction or creation. Everything or nothing. A universe full or a universe empty. Life or anti-life. Grant Morrison certainly lives up to his reputation as a frustrating and challenging author – is Final Crisis the statement of a genre looking to make peace with itself, or nonsensical Silver Age surrealism repackaged for a modern world? Is it pretentious or profound? Insightful or devoid of interest? Can’t it be both, or are these mutually exclusive states?

We all knew Obama was Superman…

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Grant Morrison’s Run on Justice League of America – The Deluxe Edition, Vol. 3-4 (Review/Retrospective)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. I’ll be looking at movies and episodes and even some of the related comic books. With the review of Justice League: Crisis on Two Earths later on today, I thought I’d take a look at Grant Morrison’s graphic novel which inspired it in someway. However, I figure – given that large debt that the entire Justice League cartoon owes Morrison’s iconic tenure on Justice League of America – it’s time to take a look at the latter half of Morrison’s run on the title.

We have no powers, there are millions of them and there’s a child in there who needs us to save the world. Let’s go.

– another day at the office for Superman

I remarked in my review of the first two deluxe hardcovers collecting his work on the series that I was perhaps a lot less impressed than most with Morrison’s work on the title. It was grand and bombastic, but it ended up feeling more than a little hallow, especially measured against some of his bolder efforts within the superhero genre. Although time and a few re-reads have softened my perspective quite a bit, I will concede that I don’t measure this as the writer’s best work. It’s epic and smart and fun, but never really becomes anything too much more.

But, then again, they are the Justice League. If I want deep characterisation of philosophical meanderings, I can check out a different book.

It actually looks quite peaceful when you're not saving it...

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Justice League – Hereafter (Parts I & II)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. With the review of Superman: Doomsday earlier, I thought it might be worth taking a look at some of the other times Superman has “died” in these animated stories.

Despite the rather large cast that the writers and producers used in producing Justice League and Justice League Unlimited, I always felt that the show was better with a more narrow focus. Of course, new characters like Green Lantern and Wonder Woman got their own episodes, but Batman and Superman were rarely the focus of attention – perhaps because they had each had their own television show beforehand, and ample time for exposure. Hereafter is a two-part episode which really feels like two separate stories, both of which are fundamentally about Superman. The first is an exploration of who the hero is, based around removing him from the fictional universe and examining the holes left in his absence. The second half explores what makes Superman a hero, if it isn’t his collection of superpowers.

Part of me wonders where Clark Kent is buried...

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Absolute New Frontier (Review/Retrospective)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. This is a comic book review of the graphic novel which inspired the animated movie Justice League: New Frontier

Today some would say that those struggles are all over– that the horizons have been explored– that all the battles have been won– that there is no longer an American frontier.

The problems are not all solved and the battles are not all won– and we stand today on the edge of a new frontier– the frontier of the 1960s– a frontier of unknown opportunities and perils– a frontier of unfulfilled hopes and threats.

– John F. Kennedy, 1960

It’s a Kennedy-era superhero saga, capturing a lot of the spirit of the sixties, the era that really saw DC comics – and comic books as a whole – massively reinvent themselves.

Green Lantern's light...

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War of Kings (Review/Retrospective)

This is the twelfth in a series of comic book reviews that will look at the direction of Marvel’s shared universe (particularly their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity.

War of Kings is perhaps the best thing to come out of Secret Invasion. In fact, the miniseries went out of its way to highlight its links to the Marvel comics mega-event, with the story even kicking off in a Secret Invasion: War of Kings special (note the order there, it isn’t War of Kings: Secret Invasion). However, not withstanding the attempts to tie the series back to the high-selling mainstream events that Marvel was consistently churning out, War of Kings is essentially an epic space opera, the story of an interstellar war and alien politics, told with the wit and charm that writer Dan Abnett and Andy Lanning have made the cosmic line famous for. Tying it into Secret Invasion only serves to highlight the deficiencies with that event, as the writers here attempt the same sort of story with the same sort of themes, but with more skill and grace than the bigger event could off.

Now is the time...

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Ed Brubaker’s Run on Uncanny X-Men – The Rise and Fall of the Shi’ar Empire (Review/Retrospective)

I’m currently wading my way through Marvel’s somewhat complicated continuity, with a major focus on The Avengers, what with the film due out in 2012 and all that. Anyway, this isn’t really a “big” crossover in its own right, but it factors into a big event I’ll be looking at later on today. Consider this an appendix.

Ed Brubaker’s run on Uncanny X-Men isn’t as widely praised as his work on Daredevil or Captain America – in fact, while Marvel couldn’t wait to churn out omnibus releases of his work on those two titles, his Uncanny X-Men run, like Matt Fraction’s run which followed, has been haphazardly collected. Part of me suspects that this might be down to factors outside Brubaker’s control – Joss Whedon was monopolising the most popular X-Men for Astonishing X-Men when Brubaker kicked off his run – but part of it comes down to the simple fact that Brubaker simply isn’t a great writer of team books. That said, writing a year-long space epic featuring none of the more iconic characters as his introductory arc probably didn’t help much.

Brotherly love…

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Batman: A Death in the Family

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. Later on today, I’ll be taking a look at the animated movie Batman: Under the Red Hood, so I thought I might take a look at one of the stories which inspired it.

A Death in the Family holds something of a sacred spot in the line-up of classic Batman stories. It was the moment that Batman failed – and he failed monumentally. The image of Batman cradling a bloody and bruised Robin in his arms is almost iconic, recognisable to any pop culture aficionado. However, the story itself really isn’t anything too spectacular – it’s as if writer Jim Starlin was trying to combine the adventurous take on Batman from the seventies with the more grim-and-gritty crusader of the late eighties, with a frankly inexplicable desire to dabble in global politics. Frankly, despite the power of the rich imagery provided by Jim Aparo, the story is more than just a little bit weak, and certainly not strong enough to support the label of “classic” that is applied so frequently to the story.

Batman will be carrying this with him for quite some time...

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DCAU Fortnight Kicks Off!

Right, I am taking a little break from work and blogging and everything for the next little while, just trying to clear my head a bit, so I won’t be around quite as much as I would like to be. However, I do have a treat for the nerdier children of the nineties out there – I’m going to take a retrospective look at the animated DC universe, the Warner Brothers cartoons produced during the nineties and into the last decade which gave us Batman: The Animated Series among many other things. Anyone who grew up during the decade can’t possibly have missed these wonderful little shows, which perhaps got me interested in comic books in the first place.

And he always times it juuust right to catch the bolt of lightning...

Note: Over the course of this two week event (and a schedule can be found below), I will occasionally return to cover something big or huge (like our scheduled Tron: Legacy review, for example). I also hope to have more time to get back into reading and engaging with other bloggers. It has been far too long.

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Secret Invasion (Review/Retrospective)

This is the twelfth in a series of comic book reviews that will look at the direction of Marvel’s shared universe (particularly their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity.

Well… that was anti-climactic.

Well, at least green and red go together...

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