What I thought of Heroes in Crisis

Written by Tom King and drawn by Clay Mann, Heroes in Crisis was yet another massive event title which promised to ‘change the DC Universe forever’, or at least til the end of June. It is an interesting, but seriously, seriously flawed experiment  but more on that in a moment.

The story centres round Sanctuary, a centre created by Superman, Batman and Wonder Woman designed to help superheroes deal with the physiological effects of being a superhero. Basically it’s a drop in centre for people suffering with PTSD. This in itself is a great idea as it deals with the violence intrinsic in superhero comics and forces the reader to confront the fact their favourite genre is a violent one soaked in wish fulfilment.   This would be a great chance to do something unique and original as Tom King is certainly a talented enough writer to pull it off.

Except it doesn’t. It fails badly because it doesn’t quite know what it wants to be. Is it a murder mystery or a psychological study of the superhero because merging both doesn’t work as all of the threads become a mess as King also throws in some threads from his Batman run not to mention enacting obvious editorial demands which ends up making the ending pretty worthless.

But is an experiment. It does try to say something different. Mann’s art is pretty good often following a 9-panel grid but again it all feels a bit empty which is a shame as DC need something to give them a hard kick in the arse and this could have been it.

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What I thought of some recent comics…

For many folk who follow this blog one way or another you possibly followed me because of my reviews of comics and although I don’t have the time (or to be honest the energy right now) to pick this up again but I do miss it so here’s a rundown of some of the comics you should be picking up, and some to avoid,

Starting with…

The Immortal Hulk.

The Hulk has had long runs of quality throughout the character’s long life from the original Kirby/Lee run, through to Herb Trimpe’s long run, and so on. This latest run written by Al Ewing and drawn by Joe Bennett is rewriting the character in a horror setting although still playing with the superhero genre. It owes a lot, and I mean a lot, to Alan Moore’s Swamp Thing run and Neil Gaiman’s superhero work.

It is however a stunning work in its own right melding body horror. supernatural elements and superheroics. This is by far the best comic produced by the Big Two today.

Batman.

Tom King’s run initially was offputting to me but he’s developed a clear story for Batman/Bruce Wayne that’s went from strength to strength. DC suffer from producing reams of utter drivel with art trapped in DC’s sub Jim Lee house style. King’s Batman run is blessed from having artists who can actually draw comics.

The Walking Dead.

This is a title which has been treading water for some time since the introduction of the Commonwealth with the title often resembling an essay of the benefits of capitalism versus socialism. With issue 200 coming soon it was clear Robert Kirkman would pull something out his hat for that issue to rival #100’s death of Glenn and introduction of Negan.

Well he’s done that in #191 and #192 and in these two issues the entire comic is up in the air as I have no idea how the comic is going to develop from now on. Picking these issues up won’t be easy as they both are selling around the £10 mark already and look to increase once the second print hits.

The Unbeatable Squirrel Girl.

Remember the days when Marvel used to produce fun, all-ages comics that anyone could pick up? They’re more or less gone but Squirrel Girl keeps the flag flying with light, fun superheroics every issue and it is a complete delight.

Wicked and the Divine

This title was one again I was less than excited about at the start but is now clearly the best superhero based title out there today. It is however nearing the end so pick it up now and you’ll get the final days of one of this decades most interesting mainstream books.

The Green Lantern.

Grant Morrison and Liam Sharp’s revamp of Green Lantern is interesting mainly thanks to Sharp’s stunning art. Morrison is going back over old ground in terms of style and although it is readable, there’s not much going on here apart from Sharp’s splendid art.

The Avengers.

As a title, this sells like proverbial hot cakes and it should do but I’ve never been convinced by Jason Aaron as a writer and this title won’t be the book that sells me on him having one good title in him and that’s about it. Its readable but disposable rubbish.

Savage Avengers

Remember the 90’s when any old shite would be thrown out if it had a bunch of EXTREME characters who were anti-heroes so they could do EXTREME things every month? Well, this is that book but they’re doing SAVAGE things instead of just being EXTREME. With a lineup of Wolverine, Elektra, The Punisher, Brother Voodoo, Venom and err, Conan this is a shameless cash cow designed to milk the Avengers brand, the Conan IP, and the popularity of Wolverine, Punisher and Venom for every single fucking penny Marvel can get out of the punter. It is terrible but it does serve as a signpost as to how awful comics can get.

 

And that’s it. Hope this pointed you in the direction of some good books and warned you off others. I may end up making this a monthly thing, so until the next time go out there and get yourself some good comics.

The endless futile entitlement of fandom

This week saw pitiful cries of entitlement about Game of Thrones, and the casting of the new Batman. In the case of Game of Thrones, fans started a petition asking for ‘competent writers’ for a proposed remake of the last season. As of the moment I write this there’s over a million people who’ve signed it which is not a shock but these people basically want the programme to pan out as they want it to, so when they say ‘competent’ what they really mean is ‘someone I like writing something I like’.

The next bit of fan entitlement is the casting of Robert Pattinson as the new Batman. Shrill cries of outrage followed as fans cried a torrent of tears and anger that one of the star of the Twilight film should be cast. Some calmer voices pointed out that was a decade ago and he’s been carving a career as a pretty good actor since but no, outrage!

Back in 1988 when Michael Keaton was cast as Batman in the then forthcoming Tim Burton film fans were outraged and yes, a petition circulated round pre-digital fan circles.

There’s nothing new about fan entitlement. It is an old thing but it doesn’t stop people from complaining, or indeed, desperately doubling back once they’ve realised that Thing X isn’t actually as bad as it was or that complaining about Thing X makes them a bit of a cock.

So in around 18 months many of these people signing petitions will be praising Robert Pattison and wishing there was another series as good as Game of Thrones.All of this will be forgotten as these people move onto their next target and the cycle carries on throughout the generations…

Inside John Byrne’s studio

For those of us of a certain age the name John Byrne is associated with the X Men.

As well as his Superman reboot.

Over the last decade or so Byrne’s been doing bits and bobs away from Marvel or DC, though there is a rumour he’s working on an X Men book again. Byrne has a pretty Marmite reputation with fans but this is someone who helped change modern superhero comics, and really probably deserves more credit than he gets.

The video below is a fascinating tour round his studio and his collection of original art. It should make you supremely jealous. Enjoy.

RIP Norm Breyfogle

The definitive Batman artists on the late 80’s and most of the 90’s, Norm Breyfogle, has sadly passed away at 58. Norm was one of those Batman artists who pop up every decade to redefine the character and indeed, if you’re around 30-40 and started reading comics as a kid then Breyfogle’s Batman is probably the first version you saw.

I loved Breyfogle’s work. It dropped at a time when DC Comics took risks, even with their prize cash cow Batman, who at that point in the late 80’s with the first Tim Burton Batman film was enjoying success like never before so dropping Breyfogle as the main artist in Detective Comics, DC’s secondary Batman title then written by Alan Grant and John Wagner was a comfortable mix of the old and new as Breyfogle took inspiration from the likes of Neal Adams, Carmine Infantino, Nick Cardy, and then newer artists like Alan Davis and Todd McFarlane, but quickly developed a style purely his.

Throughout the 90’s Breyfogle made Batman his own, and with Alan Grant they carved the last great version of Batman before the character turned into someone who could do anything, beat anyone and the idea of a detective fighting evil in his city slipped away.

With writer Alan Brennert he drew Batman: Holy Terror, an alternative version of the Batman myth where Bruce Wayne has been brought up within the church in a story which published today would probably cause merry hell. In fact I doubt with America swinging so far to the right that a company like DC would even commission this.

Breyfogle went to great heights in the 90’s and it’s forgotten he was one of Malibu’s Big Star Names when they launched the Ultraverse with his own title, Prime, being one of the flagship titles.

In the 2000’s things changed. DC sacked Alan Grant from the Batman titles while Breyfogle’s art didn’t fit a DC establishing a house style and a changing editorial structure which Grant in particular was a severe critic of. This left Breyfogle in some barren times before in 2014 he suffered a stroke and was left crushed upon the rocks of the American healthcare system.

After I had my own stroke I chatted with Norm a few times on social media and did my own wee thing to raise his plight but from conversations it was clear a mix of worry about finances and post-stroke pain (something that without painkillers leaves you in constant chronic pain when it hits) but there was always humour and a will to do better. Sadly he’s no longer around to spread his humour and at 58 left the world far, far too early. He leaves behind a body of work I hope is reappraised as be some of the very best superhero work of the last 25 years, and I hope that his death highlights the problems comics professionals have with working without a safety net, especially in a country like America. If anything that may mean no other professional has to struggle as Breyfogle did and that’s a good way to remember a man who gave so much to the industry.

Come to East Kilbride Comic Con tomorrow and buy comics…

Tomorrow is the East Kilbride Comic Con held at East Kilbride central library. It is the night before a show and I am shockingly still bagging and pricing.

So come along tomorrow and make it all worthwhile for me, and oh, as it’s Free Comic Book Day, everyone buying something gets a free comic from a mystery box while stocks last…

 

A quick word about the brilliance of José Luis García-López

Over the decades the world of comics have produced superstar artists from Jack Kirby to Jim Steranko to Neal Adams, John Byrne, George Perez, Brian Bolland, Jim Lee and dozens more. You rarely find the name of José Luis García-López in these lists yet artists rate him enormously & you’ll have almost certainly seen an example of his art. In fact I guarantee you’d have seen it.

García-López is essentially the artist that defined how DC Comics superheroes looked from the late 70’s to fairly recently, and having drawn countless character sheets for artist references not to mention the endless items of DC’s merchandising it is likely you’re sitting not far from a García-López piece right now.

His characters aren’t muscle-bound or cursed with infeasibly large breasts, but although hyper-realised, still look like human beings albeit somewhat fantastic in their costumes.

I especially recommend the series he drew for DC called Twilight. Written by Howard Chaykin, the series is a glorious science fiction epic that allows García-López  to indulge himself, and the covers are simply wonderful.

So go search out his work. In the last 40 years there’s few artists who’ve drawn superheroes as well as he has, and with DC stuck in their current bland ‘house style’, García-López stands as a reminder of how it could, and even should be done.