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It’s the 75th Anniversary of DC Comics…

… and to celebrate, we’ll be running a selection of comic book themed posts throughout the week.

We've come a long way, baby...

We’ll be looking at:

Those interested in this might like to check out The Dark Week, a week-long Batman-related event we ran to celebrate the anniversary of The Dark Knight and Batman’s birthday last year.

For those here for the movie news and reviews, don’t worry, this won’t itnerrupt with regularly-scheduled posting.

The Walking Dead, Vol. 1 (Hardcover)

The best part of The Walking Dead is the premise, brilliantly summed up by Robert Kirkman in his afterword: why do zombie movies end? The answer is quite logical, as he concedes, in that people don’t want to spend their life in a cinema watching 24-hour zombie movies. Okay, most people don’t want to do that. Somewhat forshadowing the recent announcement we’d be getting a Walking Dead television series (from Frank Darabont, director of The Shawshank Redemption and The Mist, no less), Kirkman argues that comics and television are the only media that can truly support a longterm continuous narrative. What happens after your favourite zombie film ends? It’s an interesting premise to be sure. It’s just a shame that the initial twelve issues of the series don’t quite live up to it.

Better off red?

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Is Picking a Bad Guy the Biggest Hurdle In Getting The Flash to Screen?

The rumour is that the Flash is the next Green Lantern. By which I mean the character looks set to move to the centre of DC’s universe – on panel and on screen – in the next few years. Geoff Johns relaunched Hal Jordan with Green Lantern: Rebirth about four years ago and since then he’s guided the character through arguably two of the best received event comics of the past decade (Sinestro Corps War and Blackest Night), launched a direct-to-DVD animated feature and is getting the big screen treatment from Martin Campbell, the man who saved Bond (twice). All this from what a character who was a second stringer a few years ago. It appears that the Flash is on a similar trajectory. A relaunch of the comic book was completed last month with the final issue of Flash: Rebirth and there are rumours of a big screen treatment already in the works. Part of me wonders, however, if the character’s foes are ready for the big screen?

They're either a bunch of supervillains, or a very committed eighties concept band...

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Mark Millar’s Run on Marvel Knights Spiderman – Vol. 1 (Hardcover)

With the news of the Spider-Man reboot being bandied about and the rumour that they were “darker and edgier” with the character, I thought I’d best check out what “dark and edgy” Spider-Man looks like. Here’s a hint: it isn’t Spider-Man III. I picked up Marvel Knights: Spider-Man. For those not-too-versed in comic book lore, Marvel Knights was basically the “mature” branding for Marvel properties, like Vertigo is over at DC (Neil Gaiman’s Sandman was published at Vertigo, for example). Basically, Marvel attempted to publish several books under this header – including Spider-Man and Kevin Smith’s relaunch of Daredevil – the idea being to offer more “grown up” versions of the familiar superheroes. While it’s entirely unfair to take the fact that the series was rebranded within three years as evidence of it’s quality, it failed to convince me that Spider-Man really needs to be made “darker and edgier”.

Yes, "darker and edgier" is a euphemism for "more violent"...

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Superman: Red Son

Look! Up in the sky! It’s a bird! It’s a plane! It’s Superman! Superman: Strange visitor from another world! Who can change the course of might rivers, bend steel in his bare hands and who, as the champion of the common worker, fights a never-ending battle for Stalin, socialism and the international expansion of the Warsaw Pact.

Let out enemies beware: the is only one super-power now.

– Russian propaganda broadcast

I’ve remarked before, and many others have remarked as well, that Superman is a very tough character to write for, particularly after seventy years of publication. This is a fact reflected by the difficulty even comic book aficionados have in picking the iconic Superman stories – the essential collections, as it were. Undoubtedly Alan Moore’s work on the character would be collected (handily in Whatever Happened to the Man of Tomorrow?), as would Grant Morrison’s All-Star Superman. I’m fairly sure that this collection would also make the shortlist. As far as interesting and insightful takes on the character go, Mark Millar has what might be termed a “doozie” here: what if Superman had landed in Russia? What if instead of fighting for “truth, justice and the American Way”, he fought for Mother Russia? It’s certainly an intriguing idea, and Mark Millar’s execution is near-flawless as well.

Well, of course the balloon is red...

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Could Kick-Ass Be a Cinematic Watchmen?

Okay, I think we were all a little disappointed with Watchmen. Although the use of that word seems unfair. The book defined the comic book superhero genre in a way that bled into film long before the movie was made. Zach Snyder’s work seemed… redundant. Watchmen had influenced the comic books that came after and they had influenced the movies. If anything, the movie adaptation seemed much less mature and developed than the previous year’s Batman blockbuster – The Dark Knight. Publicity and reviews for this year’s Kick-Ass are beginning to emerge and it seems like it’s all good, so far. The film, along with Shutter Island, was the runaway hit of Butt-Numb-A-Thon this year, a sort of geeky Sundance. It’s an interest look at what “real” superheroes would look like, and part of me wonders if this is movie will end up being what Watchmen should have been?

Nicolas Cage's moustache could kick your ass...

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Daredevil: Yellow (Review)

The rest of the story you know too well. It’s been told a lot of ways, with many other people in my life, but this is the way I choose to remember it when I think of you.

– Matt Murdock

The first part of Tim Sale and Jeph Loeb’s informal ‘colours’ trilogy (Spiderman: Blue and Hulk: Grey being the rest of it), Daredevil: Yellow has a lot going for it beyond the two talents behind a trilogy of iconic Batman stories (Haunted Knight, The Long Halloween, Dark Victory). Cynics would describe it as the last classic that Loeb wrote. The truth is that it offers a wonderful eulogy for the carefree comic book stories of old, simple and ridiculous fare with simple storylines and clear-cut good guys and bad guys. It’s a nostalgia trip – which means it isn’t quite as compelling as the duo’s work on Batman – but it does lend the collection a nice feel to it. If you are in anyway interested in the olden days of comic books without the retro-post-modernism that typically accompanies such fare, this is the story for you.

Daredevil's come on leaps and bounds from his early days...

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New X-Men Omnibus by Grant Morrison (Review/Retrospective)

Every once in a while a creator lands a run on a mainstream comic which suits them to a ‘t’. There’s Alan Moore’s tenure on Swamp Thing and Frank Miller’s run on Daredevil, for example. Sure, both writers did great work with other characters on a stand-alone basis (notably Superman and Batman respectively), but these were generally individual arcs rather than directing three or four years of the characters’ stories. Having read New X-Men, I can confirm that Grant Morrison has found his own such series.

Is there beauty in the beast?

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The Death of Captain America Omnibus (Review)

I was impressed by the original Captain America by Ed Brubaker Omnibus, but I wasn’t as blown away by his run as almost everyone else seems to have been. A lot of my problems were outside Brubaker’s control – the big Civil War event in the Marvel Universe loomed large over the climax of his run – and, in fairness to him, he worked around it as well as he could have been expected to. His on-going run is continued in a second (albeit smaller) omnibus, succinctly entitled The Death of Captain America Omnibus, which does exactly what it says on the tin, following the events which immediately followed the climax of the last omnibus (even going so far as to reprint the last issue in that volume as the first one in this volume). It’s just over half the size of the early collection – even factoring in the reprint – but I’ll concede that I actually enjoyed it a lot more. Maybe it was the sense that Brubaker was delivering a pay-off to all the threads opened in the first part of his run, or that he was solidly unfettered by editorial mandate this time around, or even that the storyline was considerably more streamlined and focused – no matter what the reason, the vast majority of my (already admittedly small) qualms about the first collection are dealt with here.

That's gonna be a pain to clean...

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Captain America by Ed Brubaker Omnibus (Review)

There’s a lot of buzz out there suggesting that Ed Brubaker’s run on Captain America might be the run on the character, the one for the ages – like Frank Miller’s tenure on Daredevil, for example. I decided that – with the movie coming out next year – it might be worth bringing myself up to speed on the character. While I haven’t finished Brubaker’s run (it’s on-going and I still have to read The Death of Captain America Omnibus), it is a very solid run, packed with great ideas. It’s a clever and well-crafted story that demonstrates that Brubaker has more in him than just gritty pulp like his fantastic runs on Daredevil and Gotham Central. On the other hand, I’m slow to call the run an instant classic – I’d rather finish his run before I make that judgement. Towards the end it feels like Brubaker’s own story has become somewhat derailed by the larger events looming in a shared universe. He’s still an amazing writer and succeeds in keeping the train mostly on the tracks, but one gets the sense that the collection would have been better if he had been granted complete control over it.

"Hey, Cap, what are we staring at?""You'll know it when you see it, Bucky; you'll know it when you see it."

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