September 29th, 2012
Okay so I’m four issues late to say it, but it’s still worth noting that somehow, in the middle of a run of spectacularly unspectacular comics, THIS happened:
THIS being, for what it’s worth, the 2012 superhero comic most acutely tuned in to the concerns of its moment. Oh, sure, there are a few other enjoyable superhero comics out there right – Hawkeye, Batman Incorporated, uh… Journey Into Mystery, if that counts?  - but none of them feel like an inescapable product of their moment in the way that Action Comics #9 does. 
You might well ask yourself how worthwhile this is, and if you told me that you preferred the focus on individual action beats that you get with Matt Fraction and David Aja’s work on Hawkeye…
…then I’d have to concede that you might well have a point. What’s particularly interesting here is that the other twelve issues of Morrison’s Action Comics run can be seen as a generally unsuccessful attempt to transition Morrison’s recent hall-of-mirrors scripting style into something more rhythmic and less meaning-intensive . Something a bit more like what Fraction and Aja’s are attempting in Hawkeye, in other words, only done less well, almost a year earlier.
ART PARAGRAPH: UNFORTUNATELY, A LACK OF TRUE ARTISTIC SYNTHESIS HAS ENSURED THAT THIS PARTICULAR MACHINE (ACTION! COMICS!) HAS RARELY LOOKED LIKE IT WAS READY FOR THE COMICS MARKETPLACE. THIS PARTICULAR ISSUE WAS DRAWN BY GENE HA, WHO PREVIOUSLY GRACED THE SERIES WITH GUEST ART FOR AN APOCALYPTIC SCENE SET ON KRYPTON IN ISSUE #3. HIS RIGID, RETRO-FUTURISTIC ARTWORK MAKES FOR A PURPOSEFUL CONTRAST TO THE RUGGED MALLEABILITY OF REGULAR ARTIST RAGS MORALES’ LINE, AND WHILE HIS DEPICTION OF SUPERMAN LACKS THE EASYGOING GRACE OF FRANK QUITELY’S VERSION, THE RELATIVE STRENGTH AND CLARITY OF HIS HAND IS STILL VERY MUCH APPRECIATED HERE.
As flagged by the inclusion of the Obama-riffic Superman from Final Crisis, issue #9 of Action Comics is an unashamed example of Morrison’s recent obsession with viewing the whole universe through the lens of superheroic fiction, a throwback to an era that’s not quite ended.
February 14th, 2012
SPECIAL “LOVE UND ROMANCE” EDITION
As you’ve probably noticed, it’s Valentines Day, and since we’ve already established that FEELINGS ABOUT COMICS ARE THE ONLY TRUE FEELINGS, I thought that it might be a good time to get a bit soppy about some of the comics I’ve read recently…
It’s been hard to think loving thoughts about comics in the past week or so (because: WA2CHMEN, Gary Friedrich), but I’m a trooper, and I’ve got my good buddy Mister Attack (aka The Boy Fae the Heed, aka The Beast o’the Bar-G) to keep me company, so here it goes!
Winter Solider #1, by Ed Brubker, Butch Guice and Bettie Breitweiser
Fatale #2, by Ed Brubaker and Sean Phillips
It’s a bit awkward to read these two comics back-to-back, and to find yourself preferring the one that’s built on the soiled dreams of Jack Kirby, but it’s also hard to pretend that clean hands make for good art when you’re not a teenage boy. The first two issues of Brubaker and Phillips’ latest collaboration have proceeded exactly as expected – this is the sort of work (solid, well-crafted, “ugly things in the darkness/worse things in store”) that makes it easy to under-appreciate one of corporate comics’ best partnerships.
It’s perfect pulp, in other words, but at their best these guys can suggest a whole city’s worth of stories in one panel…
…and there’s been nothing in the first couple of issues of Fatale that’s hinted at that sort of imaginative depth. Winter Soldier #1 meanwhile, is absolutely full of potent images. Despite having a truly ugly, gurning cover – despite looking like a superhero book, basically – it’s a sneakily great wee comic, all slick superspy action and unexpected quietness. This panel has caught the attention of a few other commentators…
…and rightly so. Butch Guice’s art here has a softness too it (and not just in the sense that it contains – ugh! – kissing) that couldn’t stand out more in context if it radiated ethical integrity (ooh, burn – take that, comics!). If I was looking to get all thematic on your ass I’d point you in the direction of Clive Barker’s comment that comics aren’t good at making room for love, but I’m not feeling particularly clever today, so instead I’ll just note that while most individual images will yield lots of strange, abstract patterns if you crop them artfully enough, this image gives itself more readily to this treatment than most:
Look, I don’t want to make too much of a prat of myself this early in the post, but there’s something beautiful about the way that the boundaries between the two characters in this panel seem to have been gently and willingly collapsed, isn’t there?