IRON MAN: WORLD’S MOST DANGEROUS VOL. 2 (2009):

IRON MAN: WORLD’S MOST DANGEROUS VOL. 2 (2009):

“I’m just like everybody else now, Pepper. I’m just…normal. And I hate being normal.”

- Tony Stark

     For context, there was a time when I was out of the loop with comics, and I wanted to get back in. So, I remember asking someone in my college cafeteria: “What’s happening with The Avengers these days?” All I knew of The Avengers back then was from videogames, and a few appearances in cartoons. He said: “Oh, they disbanded.” I said: “What?”  Okay, so my jaw dropped. So, when I got back into comics, the first storyline I followed was “The Avengers: Secret Invasion” slightly before the first Iron Man movie came out.

Okay, that was for context. Because I believe “World’s Most Dangerous” may have been an attempt to close that Secret Invasion/Iron Man story arc, and here I have only one part of the story. But, it’s a good one! Tony Stark is on the run from Norman Osborn, who became a mayor, stole Tony’s tech and replaced SHIELD with HAMMER. Anyway, this is less an action graphic novel and more a chase across the globe…though there are battle scenes.

What bothers me the most though about this comic is the way Tony Stark is destroying knowledge of his tech by giving himself memory loss and brain damage. Surely, there must be a more efficient way…but we can tell in this respect that the Marvel movie era is in full swing, as it has him swing by Russia, and ultimately to Afghanistan, where it all began…previously his origin began in China.

Cleverly, he borrows Crimson Dynamo’s suit (an older Russian model.) as his understanding of more complex suits begins to dwindle. But, this gets him clobbered by Pepper Potts in her own suit until they recognize each other…there is some forced drama…but it’s nice to see Pepper kick butt for once.

In a way, the story is oddly prophetic…in Iron Man 3 he DOES DESTROY his suits for no good reason. I know…true love or something. But it least here he’s got brain damage as an excuse. There’s a subplot with Iron Man and Madam Masque, suggesting they had an affair…because of his brain damage? I guess when you remove Stark’s intelligence…he becomes a real jerk. But, I suppose he’s doing it for a good cause.

Lastly, at the big showdown in The Middle East…he gets shot by some terrorists, and he tells them they should just finish the job. But, they can’t, seeing that he’s not the “eternal angel of death” they make him out to be. The message is kinda mixed. It’s forgiveness and self-sacrifice, but also…he has the brain damage…which also seems to insinuate that he has a license to be a jerk.

The ending was satisfying, though. Because Stark gets the crap beat out of him by Osborn, showing the world’s media that Osborn isn’t a hero. So, he’s on the way out. It’s an all right read. Especially the little cameo reveal at the end by Thor-in-disguise! Maybe he can give him his brain back! I mean, without his brain, he is kind of a jerk. And I know it’s about empathy and self-sacrifice, but the way it’s portrayed is hardly a disability rights spin. But, maybe that’s next issue…also the art is fantastic…in spite of the sappiness! 2 out 5 stars!

BATGIRL VOL. 2: KNIGHTFALL DESCENDS (2012) REVIEW:

"Are you seriously going to complain that you can walk again? You think you’re the only person who’s ever regained mobility?”

- Black Canary to Batgirl

Oddly, with Batgirl Vol. 2, Gail Simone goes back to Batgirl’s past rather than immediate recovery after The Killing Joke. It begins with the day she became Batgirl and puts on a bat suit while trapped in the GCPD. This volume deals more with the psychological damage caused by the Joker, instead of her physical frailty. More to the point, it incorporates The Court of Owls and even a Bane-type character in a gang. I get that it all connects her to Batman’s history, but frankly it feels a little recycled.

Batgirl faces three enemies: An epicure in a devil mask named Grotesque who can channel electricity. Now, I liked this part of the story, but mainly because there’s a brief cameo from Black Canary who trains with Batgirl and reminds her she never complained before when she was in a wheelchair. (As Oracle, leader of The Birds of Prey.)

From there, there’s a weird subplot about a young girl, (Ms. Carnes.) whose home was invaded by a mass murderer, and she now tortures evildoers for revenge! And now James Jr. is a psychopath working with The Court of Owls. Ew. Too many good-guy-turned-evil twists. But, I guess comics just work that way.

That’s not the Bane girl. Her name is Bonebreaker, her gang member. Their leader is the young girl…who’s name is Knightfall. But, as Batgirl is tracking Grotesque, the Owls take over Gotham. This is clearly meant to overlap with The Court of Owls storyline, which was running at the same time. Fair enough. I just don’t see why James Jr. had to be brought in. We’ve established that the histories are intertwined. Leave Batgirl’s family alone.

Also, her estranged mother comes and leaves again. And it’s established that Joker is tracking her a la The Killing Joke near the end. Poor Batgirl just can’t get a break with the family issues. Although I guess it follows the same logic as Court of Owls Vol. 2, where it’s revealed that Batman’s long-lost brother is leading the owls.  Not a lot I liked about this one, with it’s constant interwoven plot twists.

 One part I did like though, was when she mistakenly battles Batwoman in a police detective’s apartment, believing her to be an undercover agent of Knightfall’s gang. (Yeesh. What a corny name: Knightfall. Even the name Knightfall recalls Bane‘s entry title!) So in the end, she’s able to track Knightfall and work with Batwoman to free the prisoners. She gets the prisoners to hold Ms. Carnes back so she can fight her. The end of the novel seems to suggest a volume 3, with all Batgirl’s former villians being freed, (Mirror, Grotesque, and Gretel.)

Overall, I feel like Volume 2 kind of sacrificed the originality of exploring her recovery in favor of getting her back into action. This is okay, since action is what heroes and heroines do, but I was more upset by the co-opting of The Court of Owls and Bane-type plotlines. Surely, Batgirl can survive with an original rogue gallery rather than cheap Batman knock-offs. And not to dwell on the training scene with Black Canary, (My favorite part!) but that one scolding scene is basically all we get from the recovery angle so richly explored in the first volume.

So in conclusion, the action was fun, and I really enjoyed the first half, until The Court of Owls and a Bane clone were brought in. I don’t think Batgirl should be a Batman clone. She’s got her own individual origin (Explored in this volume!), rogue gallery, and set of issues to deal with…such as being paralyzed by Joker.

Now, some might say she can’t dwell on it forever, but I maintain that without her own set of issues, Batgirl becomes a Batman clone…and she’s capable of more than that. In sum, I knew they’d drop the recovery angle, but I guess I…was still disappointed by how quickly it was dropped. By the way, for the original characters in the first half, I give this 3 stars, but the Owl/Bane parallels are groan worthy.

BATGIRL VOL. 1: THE DARKEST REFLECTION (2012)

BATGIRL VOL. 1: THE DARKEST REFLECTION (2012)

“I'm not Barbara Gordon. I have to keep remembering that. Tonight, I'm not Barbara. Tonight, I'm not the Police Commissioner's daughter. Tonight, I'm the one who pored over the details of the confidential police and reports when her dad wasn't looking. I'm the one who recognized the vintage costumes you wear. Tonight? Tonight, I'm Batgirl.”

- Batgirl

     I have to admit, when I first heard that Barbara Gordon was out of the wheelchair for The New 52, I was extremely skeptical. But, far from avoiding disability issues, this graphic novel deals specifically with Batgirl becoming accustomed to being able-bodied again. In any case, it is rare that a graphic novel directly addresses disability and able-bodied presumptions.

She accepts her time in the chair, and even says as much throughout the comics:  “Does everyone see me as broken?” I was a little upset that they only had her as Oracle (That is, disabled.) in the story, for 3 years. But, no matter, maybe she got Bat-physical therapy.  She’s out to prove that she never was broken and is ready to take on cases alone.

A big theme of the comic is self-doubt, and contrasting her new able-bodied life with her old one. She keeps her lift-van. We begin by seeing Batgirl taking down a Halloween-themed gang of youngsters, The Brisby Killers, whose costumes she recognizes. After she takes them down (But, she’s critical of herself for using the wrong intimidation tactics.) we’re introduced to two new characters: Mirror, the graphic novel’s primary villain…a Federal Agent after people who got second chances while others didn’t…and Batgirl’s new radical-feminist roommate Alysia.

Outside the apartment, Alysia makes a comment about her lift-van and being in a wheelchair “Like being in prison.” Batgirl gives us this stunning insight in an aside: “She doesn’t mean anything by it. I know she doesn’t. She doesn’t know what it’s like, what the chair helps you do. And I guess I don’t feel like explaining that to her able-bodied-but-well-intentioned self right now.” How many times I’ve thought this to others myself!

Okay, so Batgirl got me hooked on the disability issues. But what about the villain, and the action? Well, Mirror’s got a list of survivors, and Batgirl’s on it. The first victim should’ve drowned, so we meet him drowning someone with a hose. But, Batgirl meets him in a hospital where he attempts to shoot her in the spine and break her legs even. He knows how to exploit her survivors guilt. Because he was one. He survived a terrorist train-bombing.

So, not only does he “mirror” the accidents the survivors lived through, but also their fear, which makes him kind of bizarre and nightmare inducing. He sets several traps for Batgirl, including in a cemetery, on an exploding train, and finally, in a hall of mirrors where she tells him he can survive, and defeats him by using his fear against him.

Now,  there’s a ton of other self-conflicts throughout the comics, especially when she fights Nightwing who wants to prevent her from being put back in the chair (irony?), but Batgirl insists that she must fight Mirror alone…each relationship has sort of an overprotective, presumptive quality that I dare say I’m used to. For example, when Barbara goes on a date with her former physical therapist, he tells her: “Miracles do happen.” Batgirl replies: “I’m a skeptic. I don’t believe in miracles.” (Yes!)

Also, when she goes to tell her father about where she was, two word bubbles appear, one is “What I want to say is” followed by “But, what I really say is” she is exhausted by the over-protectiveness. And I’ve been there too. Sometimes, it feels like others just see nothing but the disability, even in spite of more obvious talents.

Finally, in the last story, we meet a villainess named Gretel who can hypnotize people. Once hypnotized, they chant “338” and become zombie-like. But, it turns out Gretel was actually shot in the head three times by a mobster with a .38; Batgirl uncovers this after their first meeting. Gretel’s hypnotic ability functions as part of her trauma.

Gretel has since declared war on all powerful men, because they like to stay in power while others suffer. Her next target is Bruce Wayne. But, Batgirl realizes he’s faking being a zombie for the sake of his identity; in the end, she avoids getting hurt and Bruce whispers: “You were always meant to be Batgirl…” Finally, some confidence! After turning Gretel in, Batgirl says she’s been where Gretel’s been too, and can’t blame her. So have I!

To conclude, the art is beautiful…but I don’t think…I would’ve overcome my apprehension about this story if it weren’t so masterfully crafted by Gail Simone. I mean, I always knew Batgirl was disabled, but I guess somewhat foolishly I presumed that once she wasn’t Oracle, she’d be done with disability issues. I’m happy to be proven wrong. If you need a glimpse of disability issues in comics, I think this graphic novel would be in my Top 5 recommendations. 5 stars…Go read it!

Halo: Fall of Reach: Covenant Review (2011)

Halo: Fall of Reach: Covenant Review (2011)

Kelly: If we miss…

Sam: “We’re Spartans, Kelly. We don‘t miss.” 

So, I was sitting in Barnes & Noble a couple days ago, and decided to grab a random graphic novel to keep me occupied. That graphic novel was "Covenant"…which is a Halo comic. I’ll be lenient on this one since I’ve only ever played Halo about twice, and that was when it was new. But hey, I even reviewed Super Metroid, so how hard could this be?  Today’s review is the long-winded  Halo: Fall of Reach: Covenant, graphic novel from Marvel Comics!

     The graphic novel seems to follow the UNSC around, first the fleet, then the Spartans (Which are like Super Marines I guess.) and then the grunts, as they all battle the Covenant, which are weird looking aliens crossed between a Muppet and a bug from Starship Troopers. One of the things I find hilarious about Halo is how outmatched the Covenant seems to be, and yet the UNSC constantly acts like they’re a threat.

    In the first chapter, there’s a lot of techno babble about some secret weapon they have but: “They will counterattack, and we will be destroyed.” So, maybe not such a good plan then? After the fleet gets destroyed, then they call in the Spartans, and unveil…sigh…the Mjonir battle suits at a base called Damascus. They really grabbed for mythology there. I have no problem with mythology, but it’s not a madlib, okay? They should have reasons behind the names.

Anyway, in the second chapter it’s all about the Spartans: Three Spartans Jeff, Sam, and Kelly have to land on this Covenant ship and blow it up. At least, in this part we actually get to see the Covenant, and it’s hilarious. One of the Spartans gets trapped as he sets the explosive, and sacrifices himself so that the others survive. One of the things I liked about this sections was, for all its madlib mythology, they explain that the armor triples their strength, and in normal test subjects the suit reacted so quickly it broke their bones. Spartans, however, are not normal test subjects.

   Really? And I thought I was just playing a first-person-shooter! Now, I know that I actually was simulating a hilariously ineffectual military organization that relies on secret plans and test subjects! At least Captain America was one superhero fighting Supernazis, so he has a reason to exist! Here, it’s just Dr. Hadsley takes three random guys to a secret base after their fleet was destroyed and gives them super armor. Can anyone explain this to me other than as a bad parody of Starship Troopers? I’m not kidding…the whole organization seems to be built on secret plans, instead of actual plans.

    The final chapter is the battle of Cote de Azur. I just thought this was badly written. There are scenes where people are saying: “We’re losing men here!” and “This is more than I’ve ever seen in one place!” But, we never actually see much of the battle except for one ship that takes out a jeep. Show, don’t tell! Anyway, I was willing to give Halo a chance. It does describe the mythology for me, but I feel like at the end of the day, it’s just a bland first-person-shooter about a terribly ineffective military organization battling Muppets.

    The Covenant still don’t seem like much of a threat to me. They are bug-Muppets vs. super soldiers with guns! Most of the destruction, as I understand it, was caused by the UNSC’s poor decision-making, and not the alien threat. They sacrificed men, they sacrificed the fleet, and they sacrifice test subjects.

    Just because I’m relatively new to the Halo universe, I’ll rate this one 2.5 out of 5 stars. It does explain the universe (Though it’s poorly shown.) and it seems to be at least a good parody of Starship Troopers. But the illustrator didn’t have much to work with, because scenes were dedicated to people talking about death rather than showing it.

 I feel like Captain Kirk would be really disappointed in the UNSC. And even he would take along some red shirts, but he always had a plan! Oh, well…I suspect within the videogame Halo the secret plan plot exists to make the player feel special. But, as a comic, it just left me in the dark about how this organization can even operate!   Master Chief has nothing on Captain Kirk!
   

Whatever Happened To The Caped Crusader? (2009) Review

WHATEVER HAPPENED TO THE CAPED CRUSADER? (2009) REVIEW:

“You don't get heaven or hell. Do you know the only reward you get for being Batman? 

You get to be Batman.” 

- Disembodied voice

Whatever Happened to The Caped Crusader? is a story by Neil Gaiman in which Batman dies. Many times. Each villain/person in the story tells a story of when Batman dies. It’s essentially a reboot story. Batman is able to deduce that the disembodied voice is a result of a near death experience (NDE) that takes the form of his mother. As Batman notes, each story is different, but remains the same. Catwoman, Alfred, Joker, Robin, and Riddler all tell stories of how Batman died; honestly, I found it kinda cheesy for a reboot comic.
   
Catwoman’s story takes place in the ‘40s, back when she wore a cat’s head mask and no one knew she was a woman. She tells of their first encounter and when he discovered she was a woman. Batman ends up wounded by her some years later after he rejects her advances. She ties him up and allows him to die near her, which is creepy. Then, she quits crime and opens a pet store for high society “ladies.” (But, she uses a different word.)

Alfred’s story was my favorite, and by far the most creative interpretation.  This story reveals that Alfred belonged to a troupe of actors. After Batman’s parents died and he swore vengeance, ALFRED dressed up as all Batman’s villains, and hired helped from his acting to troupe to employ people like Penguin and Riddler. Riddler then shoots Batman after Batman discovers the truth.

Speaking of other villains, the art here is very good, even if some of the stories are a little lackluster. Joker in particular looks like straight out of The Animated Series, and has some great bits….(For maximum effect, read in Mark Hamill’s Joker voice.) “I don’t just randomly kill people. I kill people when it’s FUNNY!” But, then again I always imagine Mark Hamill’s voice paired with The Joker, including his laugh. Joker’s story is that after he kills Batman with his Joker venom, he didn’t even smile…and then he realized killing Batman wasn’t very funny after all.

After every villain says their bit, Batman deduces that he’s dying, and the disembodied voice is his mother. She tells him that there’s nothing he can do but say good night. Then, the book turns into a strange Batman version of Goodnight, Moon. The story ends with Batman being born in a hospital. A symbol of his rebirth in The New 52. Touching, if not chronologically and contextually confusing.

This is a reboot comic, so I will say they did a pretty good job. It had some nice tributes…in particular the art on The Joker and placing Catwoman in the ‘40s. But, the story doesn’t feel that heroic to me. All the stories are of Batman dying. (In creative ways, I must say!) It seems to me you could find other ways to show off a reboot then multiple deaths.

Death worked for Superman because he was split into about five different people and then put back together. Batman could’ve done absolutely nothing to deduce his death, and the comic still would’ve been the same. There was no action. Apart from some nice conspiracy theories, this essentially does nothing but show Batman as weak. Yes, I know, Batman never gives up, etc. But, he could’ve given up here, and nothing would’ve changed…I still give it a solid 3/5.

Batman Vol. 2: City of Owls (2013)

Batman Vol. 2: City of Owls (2013)

Talon: “Bruce Wayne…The Court of Owls…has sentenced you to…”

Bruce Wayne: *Hitting Talon on the head with a 2x4* “Yeah, I got it the first time!”

     Batman: City of Owls is the sequel to Batman: Court of Owls. (Reviewed here: http://www.christopherbowsman.blogspot.com/2013/07/comic-review-batman-court-of-owls-vol-1.html) This time, the Talons (Owl assassins.) are hunting Bruce Wayne. Now, since it was revealed…(spoilers?) what the Owls’ true origins are last volume, Batman seeks out Mr. Freeze to figure out how they are still alive. But, of course, not before he must defend the manor as just Bruce. (Scene above.) From there, I feel the book devolves into a character study of Mr. Freeze and others…which is expertly done, but feels like it belongs in another book with Mr. Freeze as the main villain.

     It’s fun to see Penguin helping Freeze escape (“Wah, wah!”) but really I just wanna see more Owls. But, that really doesn’t happen either. After the attack on Wayne Manor, Batman interrogates and lures Freeze in, but the book gets so bogged down by its own symbolism and psychology that it becomes pretentious and dull. For example, (mild spoiler) through Batman’s interrogation, we learn that Freeze’s ice fetish was actually caused by the death of his mother, who fell in ice. That’s nice, but this is an interrogation, not psychoanalysis…that and he was with his prison therapist pages earlier!

   All Batman should’ve uncovered was evidence of the Owls using Freeze’s tech. He does find out through a bit of serendipity that the Owls have apparently committed suicide when he investigates their roost, robbing him (so it would seem.) of his revenge. But, all that changes when Batman discovers a heart pin on his mother’s lapel on a portrait back at the Manor. (Lincoln March described such a pin in the first book.) In a random twist, Lincoln, once located, now claims to be Batman’s brother, Thomas Wayne Jr.!

   Don’t get me wrong, the epic showdown is good, and Lincoln March traps Batman in a children’s hospital, blows it up, crashes him into buildings while gliding on a Batgrappling hook in an owl costume…epic stuff. But, is the psychoanalytic “lost brother” touch really necessary? Lincoln as Owlman should be enough of a threat on his own. And since Batman himself concludes (spoilers!) that it doesn’t add up…why toss that angle out anyway? To make him look crazy? I think that was accomplished by the owl suit.

   Long story short, there’s too many side-narratives and pseudo-analysis going on here. In my opinion, the book sets one up to believe that the owls are coming, and Batman is on the run. This could work. Then, it derails itself by making the Mr. Freeze connection, and the owls’ subsequent super-convenient suicide.

   I like seeing Batman as a detective (and one of my favorite Batman stories is Am I Really Batman? An interesting play on the “I’m Batman.” catchphrase, though it predates it…An amnesia story.) but there’s too much symbolism, not enough Batman here. The Dark Knight Rises had the same problem. Besides, Mr. Freeze’s origin was already covered brilliantly in Batman: The Animated Series. It was his wife, not mother!
 
I of all people (communication theorist, translator, intercultural analyst.) know that Batman is open to interpretation, but this is a bit of a stretch. I blame the symbolism. There’s been a push lately to make Batman some sort of psychoanalytic figure…anyone who dresses up as a Bat clearly has issues, as Christian Bale’s Batman said. But, let’s not force the connections! We don’t need to hear about Freeze’s mother, Alfred’s father, Batman’s maybe-brother, and Dick Grayson’s grandfather. That just distracts from the action, but I get that it’s trying to say…The Owls predate Batman.
 
Overall, Court of Owls was a good story, but it’s sequel is maddeningly rambling. It sets up action scenes, then defuses them with back history and psychoanalysis…there’s even a story about Alfred’s father Jeeves’ warning Alfred never to come to Gotham. Frankly…with all due respect to Beware The Batman’s action-oriented Alfred…who cares?

 The reason I like both Batman: The Animated Series and Beware The Batman is that they both embrace all the flavors of Batman. The detective, the dark knight, Bruce Wayne…who isn’t afraid to be a bit foolish, even when dispensing justice. You see, my sense is…City of Owls set up a good enemy for Batman, (Lincoln March and The Owls.) and then didn’t know how to end.

   Good Batman stories always agree on tone. Beware The Batman has always been a detective story for kids, while Batman: The Animated Series was essentially the dark knight angle for 90s kids. I liked Court of Owls, where The Owls’ trap Batman, and take over his city. But, then you wait for their attack in the sequel, and there is one. Exactly one. It’s a lot of build-up with little payoff, for a gang who just took over the city. Overall, I echo Bruce Wayne’s sentiments: “Yeah, I got it the first time!” 1 star
rating from me…read it…but prepare for psychoanalytic babble.

Spider-Man: Torment (2009)

Spider-Man: Torment (2009)

 “Come sit, my little one. Lull yourself into a false sense of security. Let your mind relax and your soul become vulnerable.”

- Calypso

   Spider-Man: Torment is a graphic novel collecting the 5 issues of the same name from 1992 (collected in 2009.) by Todd McFarlane. Calypso is controlling The Lizard with voodoo. Spider-Man hears the voodoo spell and it begins to affect his brain: (Read: DOOMDOOMDOOM.) He becomes lured to The Lizard, but not before the Lizard murders 4 people. For the luring spell to work, the sorceress adds a spider to her concoction and poisons him.

    In the fight that ensues, the sorceress makes Spider-Man believe he killed The Lizard by impaling it. He  wakes up and believes he sees Kraven The Hunter, who is supposed to be dead, so at this point the is losing his mind. This is a good psychological thriller of a graphic novel, a theme McFarlane does well. I feel as though I have a greater connection to Spider-Man because of this type of complexity. Also, Mary Jane is away dancing at a nightclub. She too. Worries that Spider-Man won’t come back.
   
   Spider-Man in this story has a triple threat. He’s got to save Dr. Connors AKA bring the humanity out in The Lizard, restore his grip on reality affected by the spell (DOOMDOOMDOOM.) and save himself. Eventually, through sheer force of will he is able to rescue himself from the burning building, and barely make it home in one piece, but the fate of The Lizard  seems uncertain. McFarlane does well illustrating how bloody and tattered the fight left Spider-Man…The Lizard finally swims up from deep below the sewers, with one word: DOOM.

   It’s Todd McFarlane, so obviously there’s a lot of dark spaces and blood. He shows you each panel almost bit by bit, so you don’t know what’s creeping around the corner. A recurring theme is “…RISE ABOVE IT!” which ends the intros to each of stories in the collection!

   This applies to location as well as psychology. While DOOM lurks below in the sewers, Spider-Man swings above him and confronts him finally in a warehouse. Also, he has to rise above the sorceress’s (Calypso’s) mental control, and physical pain through the poison. But, for a while it looks like he might not make it…(Spoilers, I guess?)

    Spider-Man: Torment is a neat graphic novel that actually starts off kind of funny (and what would Spider-Man be without jokes?) and then delves into mind control, murder, and anxiety. It has a pretty good story, despite working with second-tier villains. As usual per McFarlane, it’s very affecting both in art and psyche, but that’s what a good comic does: It stays with you.

      Lots of buildup, a useless Mary Jane subplot, and second-tier villains kind of make it hard to get through, but as I understand it, The Lizard wasn’t McFarlane’s first choice…the other villains all had other stories going at the time. This gets a 2-star rating from me. It’s really McFarlane’s art that draws me in.  

Superman: Red Son (2003)

Superman: Red Son (2003)

“Let our enemies beware: There is only one Superpower now!”

    

   Yesterday, I read Superman: Red Son by Mark Millar. Superman: Red Son is an attempt to look at what would happen if Superman were born in the USSR. Every panel of Superman: Red Son is like a well-crafted propaganda shot. We see it through the eyes of those times. Through black-and-white televisions, satellites as they evolve, and of course live action from the comic's view. At first, Superman has the best of intentions: He only wants to help people and use his powers for good. He even has a certain childish naiveté about being used as a Communist soldier.

    It begins innocently enough. After Luthor brings down Sputnik, Soviet Superman saves it from crashing into Metropolis. But, that is only Luthor’s first test for the Man of Steel. (PS: I think I already knew “Stalin” translates to “Steel”, but I never thought of it as “Man of Steel” until this comic pointed out there are two Stalins…mind-blowing!) He also creates Bizarro as an American Superman, and even hires Green Lantern by order of John F. Kennedy!

    Although Superman’s intentions are good, he doesn’t respect the freedom of others. He just wants to keep them safe and healthy. By 1978, the USSR, not the U.S., controls the world politically. But, Superman has taken on a frightening appearance, almost demonic, as he begins to rule the USSR and replace dissenters with robots. Everyone has a job. No one complains. The world runs like an Orwellian nightmare.

    In this universe, Batman’s parents were shot by the head of the KGB in a purging. This of course makes him the head rebel against Superman. He’s even got a wool hat with a Bat symbol on it. Anyway, since Superman only listened to propaganda in this universe, he never finds out about his weaknesses, and Batman beats him near to death under red sunlight, courtesy of Luthor.
 
   Batman is eventually cornered by Wonder Woman, a Communist convert. I enjoy picking on DC about this. It does always seem to come down to Batman vs. Superman, no matter what universe. but I won’t spoil anymore, because it’s a great book and a treasure to look at…a truly mind-challenging comic!

    My point is, this comic could’ve easily been very one-dimensional. But, it’s not. You see Superman change from just wanting to feed the hungry to replacing dissenters with robots. It’s truly haunting and invokes Orwell for me. Through it all though, there’s one thing that never happens: Intercultural dialogue.

Throughout the real Cold War, both sides sat down and talked to avoid going to war. Here, since Superman rarely talks to anyone in the U.S., and is routinely betrayed by his own friends looking to climb the Soviet political ladder, his connection to humanity becomes very remote, and hence he always forces his will on others.

His closest advisor becomes a former enemy. The lust for power replaces gradually any need he might have left for compassion…or does it? Since I promised I won’t spoil…But, it really is a life-changing 4-star comic with great lessons about communication, power, friendship, and history. 4 stars for this one! And remember…He’s watching you.

STAR TREK: SPOCK: REFLECTIONS (2009)

STAR TREK: SPOCK: REFLECTIONS (2009)

“All living beings require illumination and wisdom. And none so much as a child’s mind yearning for insight…that it is unable to find...”

- Old Spock to the Saurian passenger

    Since I reviewed Star Trek: Burden of Knowledge (2010), I figured I can now go back review Star Trek: Spock: Reflections, also by Scott Tipton with art by Fredrica Manfredi. This tells several different stories about Spock’s journey through life, from his school days to teaching on Romulus. These are told through flashbacks which cover important moments in coming to terms with his two-sided nature between logic and emotion.

    We start by a Saurian talking to him about leaving The Romulus-Federation Neutral Zone, and we get a flashback to Captain John Harriman taking over the Enterprise. John shows Spock a plaque he had committed in Kirk’s honor, and tells him that Kirk told him to take risks, if he wanted to sit in the Captain’s chair. Spock remarks that there is no need for ceremony because Kirk was only following his nature. It keeps things simple and logical, as Spock would no doubt have wanted. B- if only for the perfect Spock answer to Harriman.

    While the first story deals with Spock’s need for logic and simplicity, the next is a well-crafted excellent story about Spock’s emotional struggles. Sarek (Spock’s dad) is angry with Spock and goes after him for being out too late in the desert. Young Spock argues that he simply has a different course of logic. From there, on top of a beautiful Vulcan cliff, Spock explains that when he is outside, he feels at peace, and that he knows that him being half-human is a constant reminder to his father that he’s not a Vulcan. Sarek changes the subject and says that he will worry his mother. She is human, after all. And he leads Spock back home. A+ for this beautiful, well-drawn scene!

    Very little is often said about what Spock’s dad actually thinks of Spock’s half-breed nature. Although he tries to stay logical, his emotions interfere too. It’s a beautiful scene. Next, we see Spock with Captain Pike, on a planet too far for transporters to reach. An engineer has developed portable wormholes to make long-term transportation easier. When Spock mentions that wormholes are unstable, he falls in, and Pike saves him in an act of selflessness. It alludes to his later sacrifice without ripping it off exactly from The Wrath of Khan! B for a grade, as far as that story goes, since we’ve already seen it with another Captain.

    Then, we get a flashback to Romulus where he is teaching the ways of logic to some kids. Even though there’s the two-part TNG episode “Unification” (1991), with Spock on Romulus, you don’t actually see him do much teaching, so that was nice. It’s here he learns that James T. Kirk is dead, which is the reason he’s back on the shuttle talking to the Saurian. One thing that happens in-between the next story is that he stops in Vulcan, and meets his former wife. An unnecessary detour, since next I either want to see Kirk or Picard.

And the next story is a Kirk story! It is short and sweet, and set in The Original Series era. A warp core breach threatens the U.S.S. Collins, Jim Kirk beams down to save the elderly female Captain, who won’t leave out of pride. When Spock remarks that he risked much for her, Kirk replies, “Surely, you weren’t worried, Mr. Spock?” (Tipton writes such great Kirk lines!) Bones says don’t be silly…to be worried he’d have to have a heart! I can almost hear the ending theme from The Original Series. Essentially, though it’s a repeat of the virtue of sacrifice with Pike…we don’t have enough info on what Pike would’ve been like…so this is much better. A+!
   
  Finally, there is one last flashback. To Saavik’s Kobayashi Maru. Saavik is disappointed and expresses her annoyance working with humans, and wants to know what she can do. Spock tells her to learn to trust. Although it is illogical. A sweet story, but somewhat incomplete feeling, and I wasn’t exactly clamoring to see Saavik. C+.

     Finally, the end stories (Thankfully not flashbacks.) are Spock reading the death notice, then meeting with Picard. Picard tells Spock he’s welcome back to The Federation at any position, but Spock declines. He notes that he’s served with men of “exemplary character”, but his duties are on Romulus. They exchange Vulcan salutes, and cut to Spock on Romulus happily teaching children. A- . Picard is as dignified as ever, but put in the situation of being shot down by Spock.

Overall, it’s a good book. It just gets bogged down by its own flashback devices. Since many of the virtues that Spock learns in this volume are repeated, particularly from Pike to Kirk, it loses a bit of it’s power. And yet, Captain Kirk is as charming as I’d expect him, and Picard’s Vulcan salute at the end is touching. I remember when I first got this book, I couldn’t put it down. It’s good, if a bit long-winded! The most powerful stories come from the relationships Spock had with these exemplary characters!

   But, since I don’t know a lot about Pike…(other than being disabled later, and played by Jeffrey Hunter in the failed Original Series pilot episode!) or how Spock related to Saavik, or even T’pring, it kind of just feels like melodrama in-between. Which is not to say that it isn’t good! Just feels less powerful…then again, Spock being a Vulcan, maybe that was the point…to drift between feeling and stone cold logic. A-, just for a little excess, but a fun read if you’re trapped between alien worlds like Spock and I! Oh, and the art gallery is just stunning! (No phaser pun intended!)

    Me? Oh, yes! I exist between the able-bodied world and the disabled world. Between what I can and can’t do. The limitlessness of my mind vs. the weight of my body. Although I could never walk, and don’t want to, I walk in my dreams and my words carry my weight, along with my power chair of course! Yes, I think I know what it’s like to be in two worlds! I’m an alien too! Live long and prosper, everybody!
     
 

House of M (2005):

 “He... He only wanted you to be happy... Look what you've done to us, daddy.”

- Scarlet Witch to Magneto

I gotta say: I’m bored with DC Comics. It’s all about Batman vs., Superman right now, (Infinite Crisis, Batman vs. Superman movie, Injustice: Gods Among Us, Sacrifice, etc.) and they won’t even let Superman act like a hero. So, instead I’ve chosen to review a graphic novel that made me think: What would happen if Magneto suddenly got what he desired? This is the plot of House of M.

   The X-men decide they have to kill Scarlet Witch as she lost control of her powers and killed several Avengers, including her husband Vision. To stop the X-men/Avengers from killing her she uses her reality-altering powers (Amplified by a mind-controlled Professor X to create a world where her dad Magneto gets everything he ever wanted. Mutants rule the Earth, and the Avengers are outcasts. But, this is not without good effects too. Peter Parker and M.J. are happily married and successful; Uncle Ben is alive, The Avengers are alive, several of The X-Men become Magneto’s elite Red Guard. Captain America walks on the moon to broker a tentative peace between mutants and humans.

     But, beneath all that appears happy and successful and covered up by tabloids, Wolverine senses that the reality is false, because he’s had his mind wiped so many times before. He storms out on Mystique (who he’s married to.) and goes off to unite the other heroes, starting with Emma Frost, who also senses the reality is false and can convince others psychically.  Wolverine fights past the elite guards, which notably includes Rogue and Nightcrawler as part of the Red Guard.
 
    Eventually, Emma Frost (who’s happily married to Cyclops, and she lets him see reality.) runs into Layla Miller, a little girl who, unaffected by the reality-altering, still retains memories of the previous reality. Wolverine takes her to the Avengers’ hideout, where together they figure out this might have been Magneto’s work. See, the Avengers’ don’t have it so lucky. They are hunted by sentinels, like the X-men in the previous reality.

After that, Wolverine, Cyclops and Dr. Strange decide to crash a meeting of the world’s leaders, led by the House of M. Dr. Strange contacts Scarlet Witch, and of course, gets her to confess that she created this reality, and loses control. (With one special caveat I won’t reveal here!) But anyway, this comic just got me thinking in the midst of all this boring Batman vs. Superman stuff: How much good makes up for one evil? People were happy under mutant rule, but people were still oppressed. Is happiness really all that people seek, even under a dictatorship? What defines reality? This was some REAL philosophy to chew on rather than the old dichotomy between Justice and Revenge we see in DC Comics. It was refreshing: Of course, it all leads to a bigger plot which is a whole different beast (But, not Beast!) A vs. X! That’s how you do a vs. buildup!