Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
You know them... you love them... and now they have a new column.
Boys?
Howdy, comic fans, Cormorant here! We @$$holes have known from the get-go that we can be a long-winded lot, and we’re always working to refine our methods and streamline our reviews into lean, mean distilments of pure funnybook wisdom. Well, the other @$$holes are, anyway. I still turn out the thousand word+ reviews that have the prose equivalent of a beer gut on ‘em.
Aaaaanyway…
In an effort to tighten up our weekly columns a bit, we’ll henceforth be removing trade paperbacks and graphic novels from the mix, and featuring them separately in a semi-regular column that we’re gonna call THE @$$HOLE TRADE SHOW! We figured that since trades have a long shelf life, it’s not quite as pressing to review ‘em as promptly as we do monthly comics. Besides, some folks these days prefer to read trades exclusively over the monthly 22-pagers. I salute these people. Their will is much stronger than my own, and hopefully they’ll dig seeing all our trade reviews in one place.
The plan is to always have a mix of the new and the old, and this time around, the new is GREEN LANTERN: BRIGHTEST DAY/BLACKEST NIGHT, WONDER WOMAN: THE HIKETEIA, RUSE: ENTER THE DETECTIVE, and (sorta) the reissue of ROAD TO PERDITION. The retro trade reviews are CHASING DOGMA and STRANGEHAVEN: ARCADIA.
Now let’s look at some tubby comics.
STRANGEHAVEN: ARCADIA
Abiogenesis Press
Gary Spencer Millidge
Reviewed by Lizzybeth
This book has sat on my shelves for over a year, unread. Don’t count that against it; it was my mistake. This collection was given to me by the guy I was dating a year ago, and when we broke it off shortly after, I shelved it. It’s not that Strangehaven didn’t look interesting. With the densely illustrated, photorealistic artwork, the small-town British flavor and slowly-gathering-intrigue sort of storyline, it seemed to require the kind of attention I just wasn’t willing to give to anything connected with this guy. And really, probably not worth the effort in the end. After losing it in the shuffle during a move, I finally picked up this collection of the first 6 issues of Millidge’s self-published Strangehaven this week and gave it a try. Now that I’ve read through it, I have to admit two things: I was wrong, and my ex had pretty good taste. Dammit.
Strangehaven is a town somewhere in England, and Alex Hunter is the man who wanders into it and can’t seem to leave. It’s not that anyone stops him, or that anything overtly sinister imprisons him in this nice little village. This isn’t the Prisoner, or Wolf Lake for that matter (thank god). It’s just that, every time he gets the idea to move on, something gets in the way. An accident, a beautiful woman, a new job. His car breaks down. There are no maps of the area, and come to think of it no map he’s ever seen even mentions Strangehaven. He doesn’t really object to staying, because his life has become rather pleasant since he found the place, especially since he met the sweet and lovely Janey. He has no connections left in the outside world, anyway. And with so many fascinating people in the village - people who seem to step out of the mist of normalcy to introduce themselves and their sometimes bizarre secret selves, then recede to the background again - Alex has plenty to keep him busy. Like that woman sleeping in the fish tank, who appeared to Alex just before he crashed his car. And the Brazilian expatriate shaman who may just be everything he seems. And the creepy Knights of the Golden Light, who have taken an interest in this intruder. All of this is rendered in terrific b/w photorealistic style, with some of the best faces and most natural poses I’ve seen in a long time. Reading the book is like looking through an album of remarkably normal-looking people doing odd things. Millidge mixes up his style throughout with painted sequences and photos, and his writing is equally versatile, ranging in tone from the gently humorous to the unsettlingly creepy.
Final word: Don’t let this sit on a shelf. Strangehaven is an absorbing read for anyone interested in amazingly realistic artwork and the weirdness lurking in small towns. New issues are sporadic, so look to the two available collections, Arcadia and Brotherhood. Spiffy official site www.millidge.com offers sample artwork and ordering information.
Title: WONDER WOMAN: THE HIKETEIA Hardcover Graphic Novel
Writer: Greg Rucka
Penciler: J.G. Jones
Inker: Wade von Grawbadger
Publisher: DC Comics
Price Tag: $24.95 US
Reviewer: Ambush Bug
Joseph Campbell, one of the foremost experts on mythology, tries to describe the appeal of mythology in his book, THE HERO WITH A THOUSAND FACES, when he states that “it has always been a primary function of mythology to supply the symbols that carry the human spirit forward, in counteraction to those other constant human fantasies that tend to tie it back.” I always thought of comics as modern mythology. Just as the cavemen were fascinated with paintings of hand turkeys spearing bison on their stony walls, today’s man experiences modern tales of the fantastic in films and books (more specifically for this review, comic books). These morality tales of larger-than-life heroes can teach us important lessons and provide a welcome escape for us when life gets too complicated. No wonder so many young adults, whose main purpose is to try to figure out life and how to live it, find solace in curling up with a good comic book.
DC has a pantheon of heroes that rivals that of Classical mythology. Lately, DC has beaten the World’s Finest concept to death. If I never see another Superman/Batman team-up story, I will die a happy man. How about the rest of the DCU? There’s an entire Justice League of icons to team up and create interesting stories around. There have been very few stories depicting the relationship between the Amazon Princess and the Dark Knight. In fact, the only real quality moment I can recall was during the Byrne run on WONDER WOMAN, when Diana was dying in a hospital and Batman shows up at her bedside and gently caresses her cheek in sympathy. This is the only real quality screen time I can recall centering on this relationship. And this is too bad because a story focusing on a guy who thinks he’s smarter than god and an actual deity would be one I’d love to see.
Anyone expecting a Wonder Woman/Batman team-up story from WONDER WOMAN: THE HIKETIEA will be disappointed. This is not your typical “Clash of the Super Heroes” story where two heroes meet, have an initial fight, then settle their differences in time to take on the real foe. The painted J.G. Jones cover may picture Wonder Woman’s boot stomping on Batman’s head like a *gulp* bug, but the interaction between the two characters is minimal in this tale. This is a Wonder Woman book, hence the absence of Batman’s name in the title. Batman is merely used as a device to further the plot. Those waiting for the ultimate Batman/Wonder Woman team-up will have to keep waiting.
THE HIKETEIA is a well crafted tale tightly woven around the myths of old. Drawing heavily from Princess Diana’s Greek culture, this tale focuses on the tradition of the Hiketeia, which centers around this concept: When one is without hope and there is no other place to turn, the down and out can pledge servitude to another in exchange for sanctuary. This is an extremely powerful tale of traditions upheld, of rules followed, and of laws broken.
The story centers around murderer, Danielle Wellys. She is being pursued by Batman, who seeks to bring her in to the authorities for her crimes, and a trio of Furies (or Erinyes), who seek vengeance of a different sort; the eye for an eye, death for a death sort. Danielle seeks out Wonder Woman for protection, offering her service and supplication to the Amazonian Princess.
Sidebar: Supplication is a word used many times in this book. Being an ignorant bastard, I didn’t really know what it meant, so I looked it up. Webster’s defines supplicate as: To ask for humbly or by earnest prayer; to make an earnest request. In the case of clearing up this story, Danielle is the supplicant; the one who makes the earnest request, and Wonder Woman is the supplicated, the one forced by tradition to honor such a request. These terms are made clear in the book, but defining them in this review might help some understand the story with more clarity.
Because of the rules of the Hiketeia, Wonder Woman is forced into conflict with Batman, who is seeking justice, and the Furies, who seek blood. What unfolds is a morality play where characters can be broken down to represent abstract elements of tradition, rules, and laws. In this way, THE HIKETEIA is a modern myth.
The creators behind this book respect Wonder Woman on many different levels. Greg Rucka recognizes the character’s Greek heritage and embraces the world of mythology, a world where the best Wonder Woman stories take place in. This is the story of a strong woman character whose only weakness is that she has an overwhelming sense of honor and a caring soul. Rucka expands on concepts from Phil Jiminez’s current run on the WONDER WOMAN ongoing series. Diana is not only a warrior, but an ambassador, a negotiator, a caregiver, and a protector. She represents every aspect of the female archetype. But Rucka is a much better storyteller than Jiminez. While Jiminez centers his stories around Wonder Woman’s different roles, Rucka creates a story that brings out these aspects in the character.
Penciler, J.G. Jones, and inker, Wade von Grawbadger, offer similar respect for the character. There is not one gratuitous, ass in the air, Penthouse cheesecake pose in this book. Every scene depicts Wonder Woman as statuesque, but not distorted. She is drawn with subtle beauty and a hint of regality. Proportions are not warped to satisfy fanboy creamings. This is a tale that completely respects the fact that the central characters are women. The art is clean yet moody, conveying an atmospheric feel for every panel of the tragedy that is unfolding on the page.
And there is some pretty intense action too. The Furies are very scary creatures. Their mouths pulled back and blood stained. Their hair slithering with serpents. They are a foreboding presence throughout the book. Like the Furies, Batman is another ever-present threat to Diana. The interaction between these two heroes is limited, but the shared screen time is powerful stuff. My only complaint is that I wanted more of this interaction and some form of resolution between these two characters since they do have to work together in the JLA after the events in this book. But as I said earlier, this is not a team-up book. It’s all about Wonder Woman.
I usually shy away from Hardcover Graphic Novels because of the high price tag. More often than not, the quality of the contents does not match the large price on the cover. I took a chance on this book and was not disappointed. From cover to cover, WONDER WOMAN: THE HIKETEIA was a satisfying and beautiful read. It is good to see one of DC’s icons get this type of respect and this quality of treatment. In recent years, mythic stories have surfaced with less and less frequency in the world of comics. It is refreshing to see such effort put into the creation of this book and such respect shown for comics’ mythic roots.
CHASING DOGMA TPB
Written by Kevin Smith
Art by Duncan Fegredo; Laura Allred
Published by Image
Reviewed by Buzz Maverik
FORT SNOOGANS, N.J. -- It's a good thing I always carry a gun when I buy drugs.
My supply of "Jersey green" was down to the resin scrapings in my bowl, so I headed to the Garden State to secure a couple of tons for my own private consumption over the 4th of July. I was a little nervous about going to Jersey ‘cause I gave a bad review to SPIDER-MAN/BLACK CAT: THE EVIL THAT MEN DO # 1 written by Jersey's tenth favorite son, Mr. Kevin Smith.
I was looking in the window of Steve-Dave's Comics when my dealers, A.J. and Quiet Bill spotted me. They weren't happy.
"Hey, Lunchbox!" A.J. said, rushing up with his partner. "If you're trollin' for boys, you've come to the wrong neck of the woods, you gay fuck! Not even Quiet Bill would slip you a fleshy torpedo these days. Where do you get off dissin' our Fat Friend's funnybook?"
The boys were fighting mad. I diffused the situation by pulling a .38 and aiming for A.J.'s privates. "I'm sorry," I said. "I like Kevin Smith's movies and comics. I just didn't care for that particular book."
"What's not to like?" A.J. said. The only indication that he noticed me preparing to shoot him was that his voice was uncharacteristically low.
"I think I made it clear in my review what I didn't like. Maybe you can tell me what you liked about it."
A.J. and Quiet Bill thought it over. Then, A.J. said, "Buy me a Mooby Combo meal and buy Quiet Bill a couple of Mini-Mooby Meals, 'cause he's collecting the inflatable Black Cat toys that come with 'em, and I'll tell you."
Twenty minutes later, under the sign of the golden calf, A.J. started his review with his mouth full. "First off, bitch, this comic was fuckin' funny. I mean, instead of starring some fag in tights fighting crime or a bunch of twentysomethings bitching about their problems, it starred a couple of righteous hero blunt dealers on a quest across America. How can you not like Jay and Silent Bob?"
"I do like 'em. We're talking about two different comi--"
"Don't interrupt, Biggie! This book has a cameo by the totally babelicious Trish the Dish, that jailbait sex researcher from MALLRATS. In fact, it's got a lot of MALLRATS shit in the opening, including that dude staring at the Magic Eye puzzle. And it's got the boyz getting jobs as fluffers on a porn film directed by Doogie Howser, although what happened to Jay would NEVER FUCKING HAPPEN! And there's a monkey, so even Silent Bob could get some action. The monkey story has a Tommy Lee Jones character. Good thing Tommy Lee isn't the comic book type, or him and Tubby would have had an interesting conversation in the TONIGHT SHOW green room that night Kev was on promoting this funny book--"
I said, "It wasn't this comic. Smith was promoting--"
"Interrupt me again and it's no more Jersey Green! Anyway, Jay and Silent Bob eventually cross paths with Andy and Brian from THE BREAKFAST CLUB. Good thing Judd Nelson wasn't there. That dude is harsh! And that leads us right up to DOGMA, which was a let down for me because nobody did it doggie in the whole flick. Snootch to the Nootch."
I already knew all of this. I didn't bother to tell A.J. and Quiet Bill that I loved this book and that since I don't distinguish much between mediums, that it's my second favorite Smith work after CHASING AMY. I just said, "Wow! You've turned me around! I've gotta read it again."
After that, we were all friends again. I was able to put my gun away and buy some Jersey Green. As I started to drive the U-Haul away, a voice I'd never heard before, coming from right beside A.J., said, "And the art by Duncan Fegredo is really fine, too."
ROAD TO PERDITION
Writer: Max Allan Collins
Artist: Richard Piers Rayner
Publisher: Paradox Press
Reviewed by Cormorant
I haven’t seen the ROAD TO PERDITION movie yet, but I took in the previews before I got around to reading the graphic novel, and I have to admit they made me a little nervous. About all I knew of Max Allan Collins’ original graphic novel was that it was a crime story of some sort set in the Depression, but the previews had a lot of the Frank Darabont SHAWSHANK REDEMPTION/GREEN MILE look to them – that is, grittiness made over with a pleasant, family-friendly sheen. And you just don’t get more family-friendly than the movie’s star, Tom Hanks, surely the most mom-approved star of all time. Now I like Tom Hanks, and I even like Frank Darabont’s huggable prison movies pretty well, but still and all, the preview had me worried that the graphic novel I’d just purchased was gonna be a little…soft.
I think it was just about the time that the lead character grabs a paper-spike off someone’s desk and crams it into a mobster’s eye that I chucked that delusion out the window.
Forget those preview taglines about “fathers and sons” and the weepy music and slow motion images of Tom Hanks hugging his kid. Maybe those sentimental moments are played to good effect in the movie, and maybe not, but the graphic novel is, to shamelessly steal a phrase Brian Bendis once used, “a two-fisted fuckpod.” I find it almost impossible to believe that Tom Hanks unleashes carnage on the scale of the comic, because this is strictly old-school John Woo here, with gunplay and violence on par with Woo’s Hong Kong movies like THE KILLER and HARD-BOILED (that’s right – his good stuff). There are moments of bonding between father and son, and there is a very real concern for the final fates of these two characters, but that all plays second fiddle to the utterly astounding, adrenaline pumping, make-you-laugh-at-the-sheer-level-of-hyperbolic-gunplay, action scenes.
Parental watchdog groups, I know that violence isn’t supposed to be cool, but I’m sorry, sometimes it just is. This is absolutely one of those times. I’m dubious that it’ll all be translated faithfully to the big screen movie, but if it is, my congratulations to whomever edited the family-friendly trailer, because you are on twisted and utterly subversive bastard. Why, I bet some parents will even take their kids to this flick, figuring on a certain acceptable level of violence, but assuming it’ll be tempered with the wholesomeness that Tom Hanks exudes. My God, those parents’ jaws are gonna hit the goddamn floor when Hanks whips out the straight razor on four wiseguys packin’ heat and turns a room into a slaughterhouse.
IF... the movie follows the comic.
And that’s the big picture. It’s heavy melodrama, heavy action. But those who haven’t seen the movie or read the comic probably need to know some meat and potatoes stuff about the story, so let’s jump to that. Our lead character is one Michael O’ Sullivan, a cleancut veteran of World War I, a good father and husband, and, unbeknownst to his kids, also a legendary mob enforcer nicknamed “The Angel of Death.” He works for John Looney, a Chicago mob boss who’s provided extensively for O’Sullivan’s family over the years. It’s interesting to note that Looney was an actual mob figure from Chicago’s history, and Collins, in his introduction, notes that the oddball name was a large part of what led him to research the figure and make him a pivotal character in the book. Ironically, the Dickensian name has been changed to “Rooney” in the movie, the producers, one presumes, concerned that audiences would find the name “Looney” too silly. Personally, I think the chuckles would all stop after the first, brutal mob hit, but maybe that’s just me.
From that simple premise of a family-man being the most feared hitman in Chicago, a grim situation emerges in which O’Sullivan is betrayed by Looney and forced to take to the road with his adolescent son, both for survival…and revenge. If the basic concept sounds like a modern day re-imagining of LONE WOLF & CUB, the Japanese comic and film series about a vengeful samurai who travels with his son in a baby cart, that’s because it is. Collins is completely up front about the homage, in which a mafia Godfather might be seen as a shogun, and mob enforcers as samurai, just as he acknowledges John Woo’s heavy influence. He even patterns the novel after the episodic nature of LONE WOLF & CUB, in which an epic tale of revenge is divided into many small adventures, each one distinct, but all leading towards an inevitable bloody finale. It strains the suspension of disbelief slightly to have the same man survive so many violent adventures, but the overall tone of realism keeps the story from veering wholly into pulp fiction story.
Bolstering the realism s the inclusion of other real-life Chicago mob figures, namely Al Capone, Al’s right-hand man, Frank Nitti, and the legendary Elliot Ness. In fact, many of the major incidents of the novel really occurred, with Collins’ enjoyable conceit being to insert his protagonist into some of the more dramatic moments. Thus, the burning and sinking of a gambling riverboat, an actual occurrence, is transformed into an act of vengeance on O’Sullivan’s part, as he attempts to pressure the boat’s owner, Al Capone, into giving up Looney.
O’Sullivan himself is somewhat unknowable, and we’re rarely privy to his inner thoughts. He’s icy in combat, and pure death to his opponents, but he’s also a religious man, and his love for his son is clear. Unfortunately, his personality lacks depth, and these traits seem a little tacked-on at times. Thus, O’Sullivan becomes more of a mythic figure, making him a memorably blood-drenched hero, if not inherently interesting in and of himself. Even John Woo’s high-octane but underwritten characters have the benefit of being charismatic, especially with Chow Yun Fat in the lead, but O’Sullivan, I must admit, is a little stiff. Thankfully, the story and action take up much of the slack, and in the blaze of gunfire and strange confrontations, such criticisms tend to fall by the wayside.
The artist of the book is a Brit named Richard Piers Rayner, and fans of realistic comic book art will be astounded when they see his work. It is Meticulous with a capital “M”, with near-photographic characters inked with a slightly scratchy effect that keeps it all lively. Rayner’s storytelling is highly cinematic, and he has a master-illustrator’s understanding of layouts and placing blacks. My personal tastes lean slightly away from such tight realism, but it seems fitting enough for a story rooted partially in historical events. Rayner also choreographs some absolutely intense shoot-outs, among the best I’ve ever seen in comics. His distinct faces and crystal clear action staging make even the most complex confrontations easy to follow, and many a comic artist could learn something from his work.
Final judgment: While ROAD TO PERIDITION falls short of the more effusive praise the movie seems to be garnering, and the father/son dynamic of the central characters didn’t draw me in as strongly as hoped, the story nevertheless stands proudly as a rip-roaring melodrama that’s filled to the brim with fascinating incidents. It’s a road picture by way of John Woo and Brian De Palma’s UNTOUCHABLES, and fans of either of are all but guaranteed to be satisfied. And it truly is a two-fisted fuckpod.
RUSE: ENTER THE DETECTIVE Trade Paperback
(Collecting RUSE 1-6)
Written by Mark Waid
Art by Butch Guice, Mike Perkins, Laura DePuy
Published by CrossGen
A sermon by the Reverend-Doctor Maverik
(Editor's note: By day, Buzz Maverik is a mild mannered, country vicar. By night, he takes up sword and flintlock, returning to his smuggling ways as the Scourge of Talkback Marsh.)
Brothers and sisters, I come to you to give my testimony! Once, I was a sinner and a dumbass just like some of you! Once, I too worshipped exclusively at the altars of Marvel and DC, and occasionally Dark Horse and Image. But I have seen the light! Halleberry, I have seen the light! The CrossGen light!
CrossGen does not tempt us to bow down to those graven images, those false gods called superheroes! No, my brethern and sisterern! CrossGen publishes comics of other genres: epic fantasy, science fiction, martial arts (THE WAY OF THE RAT by St. Chuck and St. Jeff lead to my conversion! Praise G. Gordon!), horror (although with ROUTE 666, we might be dealing with a false prophet, my children, because I didn't care for that one!), and soon sword and sorcery (when St. Chuck performs another miracle and teams with St. Andrea to bless us with a barbarian comic called BRATH!). But best of all, CrossGen publishes detective comics. I am talking RUSE, can you give me a big "Praise Sir Arthur Conan?”
RUSE is the Gospel According to St. Mark the Writer, and St. Butch the Artist. It is high adventure in the style of the sacred texts of Sherlock Holmes and the Holy of Holy Holies, the adventure comic strips that graced the newspapers of the 1930s and 1940s. O My Flock, can you give me a "Greatest Generation?” Set in a Victorian-like time (with intentional anachronisms like the term "sex addict" bandied about), and taking place in Partington, the CrossGeniverse version of London, we follow the exploits of brilliant, snide, logic-worshipping detective Simon Archard and his assistant...uh, forgive me, Brethern, his “partner”, Emma Bishop. Emma is our narrator, often the comic relief, but, even more often, Emma does the real crime fighting. For those Brothers who lust in their hearts, Emma is also the most beautifully drawn female character in comics.
St. Butch himself has expressed surprise at the reaction fans have had to the visual depiction of Emma Bishop, and to her arch-enemy Baroness Miranda Cross (the brunette Veronica to Emma's Betty-blonde). But I say unto you, that fans have reacted because St. Butch is an artist who draws realistic anatomy (Emma and Miranda have great figures, but nothing defying the laws of physics) and beautiful human features. (Although, I know your Pervert Little Hearts, brothers, and the thrill of uncovering what is hidden beneath those petticoats can be a greater temptation to stray from the straight and narrow than all the exposed flesh and harlots in painted on costumes on the comic racks! Halleivampirella!). St. Butch also draws interesting perspectives and highly detailed, double page layouts.
Praise be to St. Mark, for all the crackling, witty, intelligent dialogue! Praise be to St. Mark for the miracles of derring-do! Praise be to St. Mark for the often hilarious supporting characters, such as Simon Archard's agents who are sort of Baker Street Irregular rejects!
Woe be unto any who would spoil the stories here! It is enough for each of you to know that the evil Baroness Miranda Cross is out to take over the minds of Partington's leading citizens and that she's not going to let Emma and Simon get in her way! It is enough for you to know that in a stand-alone issue, Emma solves the Ripper-like "Dollymop Murders" on her own (even dressing up like a tart herself, thanks to the assistance of a trio of beautifully drawn tarts). And it's enough for you to know that Simon's former partner, the evil Lightbourne, is back for revenge. St. Mark has said that Lightbourne is the series’ Professor Moriarty, but I think it would be more interesting if Miranda Cross were the greatest nemesis. Do I have an "A-women?”
And now you're saying, do you have any problem at all with the book, Reverend Buzz? Yes, my children! I know that the CrossGen books are interconnected by the Sigil, some sort of MacGuffin that gives powers to characters in the stories. In RUSE, Emma has Sigil-power, which she keeps secret from Simon, that enables her to stop time. Personally, I don't need it. I don't need Emma to have super-powers, or any of the characters to have super-powers for that matter (unfortunately, Miranda also has powers like Emma's). These genres would be glorious enough on their own.
Can I have a big "Amen?”
Now, be sure to generously drop your money in the collection plate. Go in peace!
Title: GREEN LANTERN: BRIGHTEST DAY/BLACKEST NIGHT
Writer: Steven T. Seagle
Artist: John K. Snyder III
Publisher: DC Comics
Reviewer: Ambush Bug
History lesson time. Long before Kyle Rayner, Hal Jordan, John Stewart, and Guy Gardner wore the emerald ring, simple engineer Alan Scott found a lantern and ring in the wreckage of an old locomotive. When he put the ring on, he discovered power beyond his wildest dreams. Alan Scott goes by the name of Sentinel these days in the pages of JSA, but there was a time when he was the one and only Green Lantern, a mystery man and member of the Justice Society of America, fighting the Nazi menace on and off American soil. In the tradition of James Robinson’s “Times Past” stories from the phenomenal STARMAN series, GREEN LANTERN: BRIGHTEST DAY/BLACKEST NIGHT documents a day in the life of a 1940’s hero and expands on a character while respecting the past.
Steven T. Seagle has put together a nice little tale about a hero, some Nazis, a secret weapon, and a monosyllabic albino swamp-brute who was born on a Monday. At its core, the story is classic super heroism that could have been published in the 1940’s, but Seagle throws in some elements that probably wouldn’t have seen print in that day and age. I’m talking about villains who ruthlessly murder people, people getting their arms ripped off, debates about the different shades of good and evil, and woman’s lib or lack there of in America during the 40’s. This treatment breathes new life into an old formula. Since there wasn’t a lot of character development in those old tales, it is refreshing to see this classic character given a chance to shine. It is the nice mix of old and new that makes this prestige format book special.
There are a lot of characters with a lot of character in this book. Each one seems to represent either old school super heroics or more modern day takes on the subject. Seagle does a good job of fleshing out Alan Scott, who is no expert at super-heroism. He’s actually portrayed as kind of a numbskull, more like Kyle Rayner than Hal Jordan. He really doesn’t understand this whole Green Lantern thing and is just sort of going with the flow. Alan Scott is an engineer and not the most imaginative guy in the world. No hokey boxing gloves (that was Hal’s bag). No detailed imaginary creatures (that’s what Kyle does). Alan just charges in and blasts the bastards.
Seagle does an especially good job of fleshing out Scott’s potential girlfriend, Irene, who is very much a woman ahead of her time. She wants to be a news reporter in a day and age when women wouldn’t be considered for the job. But she goes for it anyway. Alan tells Irene to go back to the hotel in a time of trouble and does she listen? Hell no. She dives into the thick of the danger. Is it a wonder that these two characters are meant for each other?
I have to mention the most interesting character of the book: Solomon Grundy. The inner child in me takes great joy in seeing this man-brute toss around Nazis like Ron Zimmerman does Hollywood names. My pal Buzz suggested that Grundy should get his own series and I have to agree. I would love to see Seagle tackle the DC Universe as seen through the eyes of Grundy. Seagle portrays him as a child-like brute, but deep down, he does have the ability to reason. Solomon Grundy turns this book from pretty good to pretty damn cool.
I did have a few problems with the book. Seagle chooses to give Alan Scott an inner struggle about the shades of good and evil in an attempt to give this story weight. I really don’t think this story needed this. Seagle layers his evils. Grundy isn’t really evil. Like the Hulk, he just wants to be left alone, but his methods of keeping others away are harmful and put the innocent in danger. Now the Nazis are evil. All of this layering is nice, but seems to be pretty heavy handed towards the end of the story when Scott tries to figure everything out and save the day.
Some of Scott’s thoughts here are inconsistent. After Grundy kills a Nazi, Scott lectures him about taking a life even though it was an evil one. A few panels later, Scott lures Grundy into the path of a train. We know Grundy survives, but this was Scott’s first encounter with the man-brute. For all he knew, he just lured Grundy to his death. This type of inconsistent methodology takes away from a fun story.
At first glance, I dismissed sections of this story as lame because Scott was played as such a bonehead at times. Scott flies in to save the day, notices the masked Nazis, and asks them why they are wearing masks. They say it was because they were burned in the plane crash and Scott buys it. I think Seagle may have done this intentionally and creates an interesting situation by pitting villains with modern day immorality against Scott’s old school heroism. These Nazis are ruthless, cruel, conniving, and evil. They don’t play by the super hero handbook. Scott very much represents all of those old heroes from the early days of comics. His beliefs are strong, but cheesy, idealistic, gullible, and downright ignorant at times when faced with the modern-type problems that arise in the book. And that contrast is pretty interesting.
Enough about the story. Let’s talk art. John K. Snyder III makes this Green Lantern shine. His painted images are beautifully rendered and delicately colored. Snyder combines dynamic iconographic silhouettes with subtly shaded paintings of Green Lantern in all his emerald-glowing glory as he descends from the heavens and blasts the hell out of a tree-limb-swinging Grundy. And Solomon Grundy never looked meaner. There are a few panels that seem a bit sketchy, but for the most part this book looks great. This is the guy whose paintings made the DR. MID-NIGHT miniseries look so good. He’s painted another winner here.
I had the pleasure of meeting Martin Nodell (who with Bill Finger, created the original Alan Scott Green Lantern) at the WIZARDWORLD Chicago Con 2002 a few weekends back. He was a cordial old guy who humbly told me that he was happy that one of his creations is still alive and kicking in comics. And so am I. BRIGHTEST DAY /BLACKEST NIGHT proved that Alan Scott is indeed still alive and kicking. The book has a great mix of age-old cultural standards, classic super heroism, and good characterization, topped off with modern-day twists. I am willing to forgive the few sloppy moments for nostalgia’s sake. Green Lantern Alan Scott has been around since the conception of the DC Universe. In today’s comics world, where continuity is a four-letter word, it is refreshing to see DC embrace its past and honor its characters with tales that expand on that great history.
One of the comic reviews I’m working on myself is a massive new volume called CREATURE TECH by Douglas TenNapel, the creator of EARTHWORM JIM. It’s pretty damn amazing stuff, and I hope to have that for you soon.
"Moriarty" out.
