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(Click title to go directly to the review)
MOON KNIGHT #6
ANGEL CATBIRD #1
JUSTICE LEAGUE #4
THEATRICS Webcomic
FUTURE QUEST #4
WORLD OF TANKS: ROLL OUT #1
WACKY RACELAND #3
THE SHADOW: THE DEATH OF MARGOT LANE #3
THE OMEGA MEN: THE END IS HERE Vol.1
MOON KNIGHT #6
Writer: Jeff LemireArtists: Wilfredo Torres, Francesco Francavilla and James Stokoe
Publisher: Marvel Comics
Reviewer: Masked Man
Boy, if you dropped this new series of MOON KNIGHT after the first issue because you thought it was going to be a boring hero trapped in an insane asylum story, get your @$$ back over here. Jeff Lemire just keeps the curve balls coming. Last issue he killed Moon Knight (what, again you say) and this issue he has Moon Knight living three lives at the same time.
So yeah talk about the unpredictable. Lemire (fan fav writer of SWEET TOOTH) is really running with the concept Warren Ellis set-up with Moon Knight in the last series. He's a fractured man dealing with the whims of arcana Egyptian god. So far reality has been very subjective, and I'm not even sure we actually seen any true 'reality' yet in this series. But fear not, Lemire isn't trying to pull any 'gotcha' INCEPTION stuff. It's just that the mind fu(k battle Moon Knight is involved in right now keeps changing to an uphill battle.
Spoiler time, so as I said Moon Knight, aka Marc Spector, thought he had killed himself last issue to prevent his one time benefactor Khonshu from taking over his body. But to be honest, he might actually be in the afterlife here, as he fades in and out of conciseness into his former aliases' lives: big time movie producer Steven Grant, New York cabbie Jake Lockley (who still believe he's Moon Knight) and Marc Spector, 'Robotech' type space pilot. Each one of these lives is illustrated by a different artist, to great affect. Torres, who has done Shadow work for Dynamite and JUPITER'S CIRCLE work for Image, creates the simple clean style of Steven Grant. Francesco Francavilla (popular cover artist and BLACK BEETLE creator) creates the gritty world of Jake Lockley. And James Stokoe (popular indie artist) creates the anime sci-fi world of Marc Spector. Everything from the studio back lot, to the taxi cab, to the space armada looks great and really sells the tale Lemire is telling. As to actually plot movement, this issue is more about being as lost as Moon Knight than moving the plot forward. Which is just fine.
MOON KNIGHT isn't quite the must read revolution Ellis made, but is definitely one of Marvel's current gems. It's basically walking a tight rope between indie cool and Marvel wow. I'd almost say it's a kin to what Jack Kirby was doing with his 4thWorld at DC. Creating a superhero world that goes beyond the conciseness of the superhero genre. And here's the important part, without being pretentious. So if you are looking for something well made and a different than your typical superhero book, MOON KNIGHT deserves your attention.
You can pick up this comic at TFAW by clicking this link!
ANGEL CATBIRD #1
Writer: Margaret AtwoodArtist: Johnnie Christmas
Publisher: Dark Horse Comics
Reviewer: Lyzard
Let me put this upfront. I have a bias towards Margaret Atwood. She is an absolute superstar in the eyes of myself and my cohort, by which I mean my fellow humanities doctoral students. So when I heard that Atwood was coming out with a comic, published by Dark Horse, called ANGEL CATBIRD, how could I not be excited?! But I’ll try to keep my energy in check. As much as I adore her work and overall gravitas, Atwood is still human.
Unlike her characters. ANGEL CATBIRD takes place in a world occupied by half-animal beings walk amongst us, their true nature hidden from humans and at times each other. String Felids is employed at Morbid Inc. working on the unoriginally named “Special Project.” It is quickly revealed that this top secret work is for a super-splicer serum and falling in line with the traditional superhero catalyst, in a freak “accident” Felids is exposed to the serum and spliced with both cat and owl DNA. String becomes caught up in a covert war between his fellow co-workers, many of whom are cat people, in defeating their boss, the ever so obvious rat man, from creating an army (and harem) of rat people!
The first thirty or so pages are paint-by-number when it comes to comic book narratives. I’m still at odds whether or not this lack of originality is meant to be satire, homage, or plain unoriginal exposition. Atwood is known for her inventiveness, but I struggle to give her the benefit of the doubt here.
Maybe that’s because by this point in the story I had had my fill of cat and animal puns. Too bad there were ninety more pages left. The word-play is dialed back later on in the volume, but it highlights the issue of releasing the comic in such a format.
For those unfamiliar with Atwood’s work, they may question my fan-girdling over her based on ANGEL CATBIRD alone. But the proof is right there… in the introduction. A bit long, running at six pages, Atwood illuminates for us her personal history with comics and the inspirations for ANGEL CATBIRD. Frankly, without this introduction, the comic’s outrageousness would come off as completely cheesy rather than steeped in a tradition of surrealism. These six pages have a far stronger humorous voice than that featured in the story that follows. It is bittersweet. The talent is there, but does not translate to the new medium.
In the introduction, Atwood also explains her desire to have Angel Catbird “look sexy, like the superhero and noir comics I’d read in the forties [and that] he would have to have muscles,” a task her drawing skills were not prepared for. Johnnie Christmas’ artwork, particularly his character designs, is everything the rest of the comic should have been. Reverent to the inspirational materials, legitimately funny, dynamic, and utterly beautiful. The cover is absolutely fantastic and Dark Horse will be missing out on a merchandising opportunity if they don’t sell posters of it.
I still love Margaret Atwood and as much as I would have wanted to praise this book purely to have one of my favorite authors re-tweet my review, I’ll just have to hope that she is one to appreciate honesty.
You can pick up this comic at TFAW by clicking this link!
Lyzard is Lyz Reblin, a graduate student at Michigan Tech pursuing a doctorate in Rhetoric, Theory, and Culture... which is just a fancy way of saying she plays a lot video games, watches far too many horror films, and then tries to pass it all off as "research."
JUSTICE LEAGUE #4
Writer: Bryan HitchArtist: Jesus Merino
Publisher: DC Comics
Reviewer: Masked Man
I'm starting to feel like the last hold out against DC's Rebirth. Not that I think it's bad, but I just don't get the instant love, as nothing has really changed. Aside from Pre-New 52 Superman, Lois and Wally West coming back- this is still the New 52. The one negative thing I can say though, is DC History / Continuity is in the worst state it has ever been in. You see, the main thing DC has done, is 'ape' Marvel's 'Now' strategy. Relaunching a ton of comics (it's not a reboot, it never was) with #1 issues, new creative teams and slight (if any) changes to the status quo (i.e. - Daredevil now lives in San Francisco / Green Arrow and Black Canary like each other). Which is fine, you copy what works, but they also copied what didn't work: The half @$$ reboot Marvel did after Hickman's SECRET WAR. Marvel could have cleaned-up and streamlined a lot of their continuity and history, but instead all they did was make Peter Parker rich. And the fans aren't happy about it. Will the same fate await DC once the glow of #1 issues and two Wally Wests are gone? Well, that all said, I have my eye on the JUSTICE LEAGUE.
While fan fav Bryan Hitch is getting the chance to finish his first (as a writer) League story with the return of JUSTICE LEAGUE OF AMERICA, his second League story here appears to be improving. As someone who has read a lot of Justice League stories, both of Hitch's League stories have been paint by numbers. He has been trying to come up with clever plot devises to keep them more interesting, but still they come across as been there done that- a hundred times.
Getting more into this issue, Hitch has three spinning plates (spoilers are a coming): alien invading 'space bats', Earth destroying bombs imbedded beneath the Earth's crust for centuries, and giants composed of people. Little by little, he has been revealing how they all connect. It's all clever enough as the giants appear to be a defense against the space bats, and the bombs are the fail safe if the giants lose. But the business about the giants and superheroes sharing power or how they will finally get to sing, does little to interest me. Anyway, the rookie Green Lantern's are stomping out a planet size armada of space bats (as it appears planets are the raw material for the space bats). The Flash is running all over the world swatting all the space bats that get passed the GLs. Aquaman has some singing zodiac crystals (Hitch has yet to explain that one). Wonder Woman is trying to figure out what the giants want (odd that all the heroes are immune to be absorbed by them). Superman is dealing with the Earth bombs. Hitch handles this well, as Superman in classic style, has to think about how to handle them. Batman and Cyborg, while hanging out with Pre-New 52 Lois and her son (John), hack the 'internet' of the space bats. This has interesting consequences, as everyone on the planet being turned into space bats (the GL mission) has been remade in Cyborg's image. Ok, you got my attention there Bryan, what's that all about.
So a few good things in this issue, gives me hope for a good run by Hitch. After three bi-weekly issues by Tony Daniels, Jesus Merino steps in to draw this issue. Merino use to be Carlos Pacheco's inker, but it turns out he's a kick @$$ penciler in his own right. The Green Lantern pages are most impressive, he even sneaks in a homage to NAUSICCA OF THE VALLEY OF THE WIND. For the past few years JUSTICE LEAGUE has been blessed with great art. With these growing signs of life in the story, here's hoping Hitch can finally get the writing up to the same level.
You can pick up this comic at TFAW by clicking this link!
THEATRICS (Web Comic)
Writer: Neil GibsonArtist: Leonardo Gonzales
Publisher: TPub (you can check out this webcomic here)
Reviewer: Rob Patey (Pre-Rebirth Optimous Douche)
In the face of inevitable change, life is really about the ability to reinvent oneself for the next chapter. This is especially true when the face of change fucks up your face, and with it the livelihood you built solely upon that visage. Set in 1920’s NY, THEATRICS tells the tale of a Broadway bohunk, Rudy burns, who tragically loses his comely façade after a speakeasy mugging. The wrong place at the wrong time is a tragic cliché we’ve all felt to one degree or another, but we usually put pity in its place for perseverance to rise again.
In the first arc of this book, now available online for your free reading pleasure, Rudy is stuck in freefall despite the story’s rising action. With a puddum that is more monster than man we watch Rudy lose everything he held dear from the footlights to his first lady. Like most actors (I was a theater major in college so I speak from experience), a delusional arrogance holds Rudy from moving past his past life with his pretty boy good looks producing his paycheck. When you can’t be the leading man, become the villain. There are enough failed child stars to prove this story in spades. Cute doesn’t last, and time eventually ravishes all good looks (except Christie Brinkley of course). The smart realize the loss of looks while in decline and skill up. The unlucky who hit the wall swiftly, like Rudy and say Corey Haim, usually scrape complete bottom before once again rising.
Thankfully Rudy had his best bud from Iowa and not Corey Feldman to help him see there is life beyond what was. As Rudy faced each new direction downward, I found myself screaming at the screen for him to reach out to the man he treated kindly when on the top of his game. Karma is merely the reciprocation of good deeds, and only a fool never asks for pay backs. But a fool Rudy remained page after page as he faced rejection, eviction and finally the loss of his globe trotting gal pal. His friend though, remained, and was there when Rudy reached his darkest hour inside a hangman’s noose.
I won’t say where the story goes next, that’s why God gave you eyeholes. But it’s in line with the title of the book, and perfectly poetic for the period this piece takes place in. It’s also a stark departure for what one expects from a Tpub…publication. When the editor of Tpub first reached out to me “ahem” years ago, he was building anthology comics that would have frightened and amazed Rod Serling. Each subsequent volume of his TWISTED DARK series grew darker and darker with more and more twists of plot. Neil was to comics what M. Knight feebly kept trying to be to movies. Given Neil’s track record, I expected Rudy to slip on the noose and end it all, then in the next scene find out his face wasn’t whacked at all and he was merely the first case of body dysmorphia.
THEATRICS, is the first web comic for Tpub, but the freebie price of admission and delivery medium didn’t water down the experience in the slightest. I will say there are a few tricks they can invest in to make it more potable on portable electronics, but they used the standard old web browser just fine and dandy. The art by Leo Gonzales is not only well executed for the comic medium, I’m amazed that creators who aren’t American were able to capture the city of youth so accurately from this almost now forgotten time. If you want a heady story with more heart than what you find from most off the shelf offerings, look no further than THEATRICS. If you hate good stories, NY, or actors well then best of luck with this week’s spandex sameness.
Rob works for IBM when he puts down comic books. IBM.com if you want to see his other world.
FUTURE QUEST #4
Writer: Jeff ParkerArtist: Evan Shaner, Ron Randall, & Jeff Parker
Publisher: DC Comics
Reviewer: Masked Man
Jeff Parker is doing a great job growing the cast of FUTURE QUEST, while keeping the plot moving as well. Again, I still think score cards of the characters would help the new readers (Jade does get one this issue, so keep 'em coming DC). As in this issue Mightor (caveman Captain (as in big red cheese) Marvel) Dino Boy (modern boy with caveman friend) and Frankenstein Jr. (boy genius builds superhero robot with father (or mother here)) join the mix.
I shouldn't be too surprised, Parker did a great job of putting together the King Features Syndicate characters (Flash Gordon, The Phantom, Mandrake, etc) for Dynamite. On a side note, I'm pleased to hear Parker will be doing more Flash Gordon work for Dynamite (they have sorely missed him). So how does Parker do it? Well he keeps the main action moving with Johnny Quest in present day. Then he uses flash backs or flash forwards to show where the other H-B heroes are and how they are interacting with the big bad of the story. Meanwhile the big bad is head present day, via time and space worm holes.
So how about the spoilers? Well it starts with the possible final day of Mightor, now an adult (he was a teenager in the show). All very heroic and cool, though I'm not sure why he's hanging around with a blond named Teela (the girl from the show was a red head named Sheera). In modern day, our heroes get to know each other better and chase down Omnikron. In the chase a boy's parents are seemingly killed (a bit gruesome if true) as Ugh and an Allosurus vortex into the present. Say hello, Dino Boy! Meanwhile under the direction of Dr. Zin, Jade leads a pack of F.E.A.R. Agents against our heroes. Although Dr. Zin has come to the conclusion that the Omnikron is much too powerful to control- will Dr. Zin actually team-up with Dr. Quest and allies!? Jeff Parker then has a cute back-up story (with shades of the VENTURE BROS' Monarch's henchmen) of Dr. Zin taking over F.E.A.R. And not just working with them. Another back-up story introduces another hero, Buzz Conroy. Whose mother, Linda Kim-Conroy built Frankenstein Jr. Buzz's bodyguard and superhero buddy. Parker then creates a shared history between the Quests, the Conroy's and Dr. Zin. It's a good way of tying this massive Hanna-Barbera world together.
So a lot going on here, but as I said Parker does a good job preventing it from becoming a mess. It's all just good adventure story telling, slightly on the scale of DC's CRISIS ON INFINITE EARTHS (as the present, future and past collide).
Artwork wise, Shaner and Randall both do a good job. Especially Shaner's first few pages of Mightor in action. Parker himself even does a little drawing. I haven't seen his art work since the 90's, when he was drawing later issues of SOLITAIRE for Malibu (remember them?). His work isn't as sharp as Randall's or Shaner, but he has much improved since his Malibu days.
You animation / H-B fans should be eating this up with a spoon. For everyone else, keeping track of the cast will be a little tough, but doable, so you should really give FUTURE QUEST a shot.
You can pick up this comic at TFAW by clicking this link!
WORLD OF TANKS: ROLL OUT #1
Writer: Garth EnnisArtist: Carlos Ezquerra
Publisher: Dark Horse Comics
Reviewer: Lyzard
I had little interest in reviewing yet another video game-comic adaptation, especially one based on WORLD OF TANKS. But then I saw that Garth Ennis, the man behind Preacher, was its writer. The Wargaming MMO may still not be my cup of tea, but I just had to see what Ennis could do with a property like that.
ROLL OUT Part 1 follows two factions, a green British crew and the Panthers of Panzerabteilung 130, an experienced German tank unit. Neither group is prepared for battle. The young Allie soldiers have very little experience and their Axis rivals are cut off from the rest of their unit with dilapidated equipment. When these two inevitably meet, what will the outcome be based on: superior technology or veteran skill?
WORLD OF TANKS requires absolutely no prior knowledge of the game it is based on. In fact, outside of some small font on the credit page, it would be difficult for an unfamiliar reader to know that the comic is based on a massive multiplayer online game. That is its biggest strength and weakness. Anybody, who has an interest in WWII or Ennis stories, could pick up the comic regardless of their experience with the game. However, the characters are underdeveloped. I’m not saying that in the game that players become attached to their units, have a vested interest in their survival beyond winning the game. What I am saying is that successful video game-comic adaptations tend to take advantage of characters the audience already cares about. To make this even harder, while Ennis clearly put in effort to create accurate dialogue, the extensive use of British, German, and military terminology creates an even wider divide in relatability. I want to care for these guys (even the Germans aren’t portrayed as bastards that deserve to rot in hell), but I need to be able to understand what they’re saying to do so.
Actually, try reading the comic without the speech bubbles. Give it a shot. Carlos Ezquerra’s drawings provide plenty of information to the reader that one could survive on visuals alone. In fact, the artwork might have cleaner storytelling than the dialogue.
You can pick up this comic at TFAW by clicking this link!
WACKY RACELAND #3
Writer: Ken PontacArtist: Leonardo Manco
Publisher: DC Comics
Reviewer: Masked Man
So I was asked to give a review of WACKY RACELAND and here it is. Now I'm a bit of a fan of the original cartoon Raceland is based on, WACKY RACES. But it's not like I've seen all the episodes or own the dvd set. Still seeing the concept art of the series made me wonder what kind of acid Pontac and Manco dropped to come up with all this. From the get go you can see the MAD MAX influence in WACKY RACELAND. Looking closer at it, you can see a HUNGRY GAMES influence as well.
The man behind the word processor is Ken Pontac. An animation writer who brought us stuff like HAPPY TREE FRIENDS, BUMP IN THE NIGHT and ton of other projects. Artist Leonardo Manco, an Argentine artist, has bounced around the American scene for a while now. With a long stretch on HELLBLAZER in the mid 2000's. Both men try their damnedest to create something we never seen before. Although it a weird way it reminds me of HEX. The 80's comic book that took 'cowboy' Jonah Hex and transported him into a MAD MAX type future (early art by Mark Texeira by the way). Either way, I'm not sure WACKY RACELAND has a target audience.
I want to talk about the art first, because Manco is a fabulous artist, but these pages are very messy. Manco lives for details. The racers, the cars, and the Wacky Raceland world are all super detailed and cool. He's artistic style is a scratchy and rough one, which often works well. But when he put more than one car or more than two characters in a scene, it becomes confusing and hard to look at. While she tries, colorist Mariana Sanzone needs more contrast in her palette to help sort things out for us readers. It's a shame, because Manco is totally drawing some really cool stuff here.
To the story, well the problem (if I can call it a problem) is this should be a mature title. Just like the good MAD MAX movies, it should be rated R. If you set-up a hardcore world and then don't give us a hardcore story, who is the story for?
To give ya some spoilers, along with the general mayhem, this issue gives us a better look at the history of Penelope Pitstop. Manco tries to get tough with it (despite the cutesy art), but you can feel editorial or self censorship preventing the tale from being really tragic. There's also a racing rule that racers can't allow other racers to get killed. For a book molding itself after MAD MAX and THE HUNGER GAMES, keeping all the characters inside a protective Corp IP bubble seems insane. On some level sure, it creates interesting character interaction, which this issue is loaded with. But on another level, it makes the original cartoon appear more violent by comparison. If the original cartoon portrayed its violence as real, more characters would have been killed than in the SUICIDE SQUAD movie.
Now if you attempt to check out this book because you’re a diehard fan of the cartoon- yeah don't. This is built for new readers. The charm and silliness of the cartoon has been replace (for better or worse) grit and hardcore. If you’re curious about this title, then totally give it a try. It's most likely the scratch for your itch, you've been looking for. But overall I feel it would have been more successful as a miniseries, where the bulk of the cast gets killed off in spectacular fashion at the end. Then they could follow up with another WACKY RACELAND miniseries, but influence by THE FAST AND THE FURIOUS instead. Then spin it again.
You can pick up this comic at TFAW by clicking this link!
THE SHADOW: THE DEATH OF MARGO LANE #3
Writer / Artist: Matt WagnerColorist: Brennan Wagner
Publisher: Dynamite Entertainment
Reviewer: Masked Man
With just one issue left to go in the mini-series, it seems the title rings true. Though I'm still holding out for a Mark Twain ending. Until then, Matt Wagner is doing what he does best, writing and drawing a great operatic comic.
Unfortunately, I don't think this series is as good as Matt's high water mark at Dynamite: GRENDEL VS THE SHADOW. Still, THE SHADOW: THE DEATH OF MARGO LANE is a superior book. Unless you don't like Matt's style, which I ask, what's wrong with you? Though the one thing that strikes me odd about this storyline, is that it somewhat mirror's Matt' recent THE SPIRIT 12 issue run. Where the Spirit and now the Shadow are chasing down a new super secretive, highly feared, ruthless crime boss. The comparison ends there, but it's still odd that these back-to-back series have mirror image villains. In the Shadow's case it's the Red Empress, and (spoiler time) as the Shadow catches up to her this issue we learn it's the daughter of Shiwan Khan (Note: THE SPIRIT had a villainous daughter as well): Zhu Khanum.
Now if you haven't been keeping up with the Shadow over here at Dynamite, they've been playing him like Batman. A grim, holy crusade, crime fighter, who's brilliant and tightly wound. To a degree, especially with this issue, Matt gives us a bit of a Batman story, as the Shadow deals with losing his long time partner Margo Lane. The Shadow deals with her passing and he worries that it might be affecting his ability to fight crime. In turn, endangering his other associates in his crusade against crime and villainy. The rest of the issues deals with the Shadow finally tracking down the Red Empress. Again she's the daughter of the most famous Shadow villain, Shiwan Khan, as he was featured in the 1994 movie. The issue ends with the face off, and the conclusion to come.
Matt Wagner is easily making the best Shadow comics in years and perhaps ever. They remind me of his Batman: Dark Moon Rising series (Batman again). Brilliantly gothic and pulpy, with a touch of noir crime; in both word and art, and probably more with the art. Which is probably why I think Matt's best writing is on the projects he is drawing as well.
Shadow fans, as well as Matt Wagner fans should be picking this up. On a side note, Matt sees to be the only one at Dynamite giving the Shadow his infamous invisibility powers. The bulk of Dynamite's THE SHADOW comics seem to lean more on the pulp stories, than the radio show; meaning no invisibility. As a radio fan, I appreciate Matt's take. But yeah, adventure fans take note, this is some really good work.
You can pick up this comic at TFAW by clicking this link!
THE OMEGA MEN: THE END IS HERE Vol.1
Writer: Tom KingArtist: Barnaby Bagenda
Publisher: DC Comics
Reviewer: Humphrey Lee
Alright, I’ve had enough of something that has been dominating way too much of my free reading and writing time in this space as of late when it comes to the comic books. And that something is Tom King. It was kind of cute when this guy who apparently worked a ho-hum gig at the CIA in a previous life decided he wanted to write himself some funny books and teamed with Tim Seeley to turn Dick Grayson into a super spy. Which, if you ask me, seems to be pretty arrogant right? Oh, look at me, I worked for this intelligence and spy craft organization and know things, aren’t I special?!?!? And then the arrogant bastard has had the audacity since then to write an absolutely character-defining and heart-wrenching story for long-time Avenger, The Vision, and he’s been telling one of the most real and frighteningly insightful pieces into the Iraq War I’ve seen in any medium in THE SHERIFF OF BAGHDAD and, oh of fucking course, he’s been off to a pretty interesting start writing the goddamn Batman with David Finch during this Rebirth relaunch period for DC. Who the hell does this hotshot think he is?
Obviously, he’s the real deal is what he is, and I for one welcome our new comic book authoring overlord.
Now that I have been initiated into the King Cult, I understand how the man has Turbo Teen’d his way into the form of a Steamroller and is flattening everything in sight as he settles into being the new hot name in the industry. If I had been paying better attention before, I would have seen it coming way earlier when the subject of this review, THE OMEGA MEN by King and artist Barnaby Bagenda, starting hitting shelves almost a year and a half ago. Blazing through this tome over this holiday weekend it shows itself to be a microcosm of the skill set that King has almost outright flaunted now that he has been getting more cover credits since its debut. There’s an inherent knack in his writing to humanize his subjects and but them in very real, personable dangers or moral quandaries or sets of circumstances that leave the characters feeling identifiably hopeless or overwhelmed by. In the case of THE OMEGA MEN, King tackles the very dirty, very brutal worlds of faith, fanaticism, and revolution with all the dilemmas a nine-panel grid page can handle.
I don’t want to call it a “shtick” yet since King still currently has more experience documenting your nude texts than with comic book scripts, but this collection is definitely a blueprint for both the quality and depth of plot content that he has exhibited since he has arrived. The Omega Men themselves are the epitome of your C-tier, well-read fan favorite characters that have just enough charisma and charm to occasionally carry a book but have never really gained much traction outside of being “quirky space miscreants” who now almost seem derivative of what the Guardians of the Galaxy have become as that property reached the success it currently enjoys. And King could have easily just pitched and ran with stories in that vein in a bid to capitalize on that space misbehaving’ zeitgeist they have bolstered, but instead he and Barnaby Bagenda crafted a politics and religion infused space epic that shows what you can do to elevate these established yet lower tier characters if you’re willing to show some tooth.
Those grinning canines show themselves in the form of an Omega Men willing to play an ambitious long game to end the hold of The Citadel has on their home of the Vega System. They kidnap and fake a public execution of former savior of the Green Lanterns, and current White Lantern, Kyle Rayner, as he’s on a diplomatic mission to that shady and corrupt little section of the galaxy. They attack the hypocritical and greedily complicit religious home world of Changraly for their role in funneling money and support to the Citadel. At the center of all this activity there is the forbidden planet of Voorl which hides away from Citadel reach behind an impenetrable shield hiding a huge secret to the quest. Each Omega Men member has his or her own painful and multi-fold story and part to play out in these plans with their own toll taken by these events or sacrifices being made or revealed. Yes, these characters have definitely moved from “loveable miscreants” more onto grimmer, grey-shaded paths, but the quality of the story around them and the more meaningful stakes of this tale justify the shifts.
But this story isn’t all about just being a grim and gritty, political space thriller. There is plenty of high-energy swashbuckling and banter about to fill in between the spaces where we find out about more vile actions of the Citadel or even out “heroes.” This volume is less about “Guardiansafying” these characters but more “Fireflying” them given its style of humor but the type of space drama it is playing out. There is a war going on and these characters all have their own level of personal involvement going on beyond simply righting a wrong, and watching their own stories play out while the overall plot unfolds is a very satisfying experience. Whether it’s team leader Primus struggling to become a resistance fighter after years of being a pacifist or even the biggest name in the book, Kyle Rayner, coming to grips with being a man usually tasked (and succeeding) with saving everyone and struggling with his faith after failing the Vega sector and then really having to get dirtier than he ever has to do his part in this conflict. That editorial was willing to let a character of that caliber and “cleanness” be brought into this steely of a work shows they really had their own high level of faith in the scripts they were being handed.
Obviously, this is a fine final product given the praises I’ve just been singing about it while trying to go through some verbal hoops to not give too much away. It’s a rewarding experience that brings a great level of depth to these normally whimsical characters and expands parts of the DCU we rarely visit. And it is a visually gorgeous book. I have definitely not given Barnaby Bagenda his fair shake in discussing this book and more focusing on the meteoric rise of Tom King while doing so. But his art is very detailed, very kinetic and vibrant, and does a fantastic job of absorbing you into this corner of the galaxy. It’s part of a complete package I really cannot level many complaints at other than I feel maybe the overall story pacing started dominoing quicker to a finish than it feel like it wanted to. I do not know how much that has to do with the (unfathomable in the hindsight of reading this) cancelling and then renewing of this book around its middle when it was coming in issues, but I think some of the events are rushed toward the end as the climax of the saga is upon us. A couple more issues of material and some more detail with the pieces falling and how they were taking a personal toll on our heroes as they fought their war and we’d really be cooking. As it stands though, this OMEGA MEN collection would be an impressive hook for more veteran creators than King and Bagenda to hang their hats on, but here these two studs are. And I’m not just saying that because it has been insinuated by anyone out there that bad time incriminating photos would show up on my hard drive if I did not sing some praises about this book here in our own little Vega system of the internet.
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Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, The MySpaces, Facebookand a blog where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.
Proofs, co-edits & common sense provided by Sleazy G
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