Hellblazer #245

The last time a major American writer wrote Hellblazer, was the beginning of perhaps the worst time in this title's history. Having gone through a number of British writers, Hellblazer has a history of great stories. Writers like Jamie Delano, Garth Ennis, even Warren Ellis, in his short run, have left an indelible mark on the character of John Constantine. But Brian Azzarello isn't one of them.

Lately Hellblazer has been on the up and up. Andy Diggle is one of the best writers of this generation, even though, not many seem to realize it. The Losers was one of the best series from Vertigo in recent times. Hellblazer was a natural fit for Diggle's writing style. And he has proven beyond doubt in his short run, that he's here to have his name included on the list of great Hellblazer authors. And that takes us to this issue which is part 1 of a 2 part fill in. Now I have no idea why a fill in was required since I don't see Diggle writing any other series, neverthless a fill-in it is. If I had to select any author to do a fill-in for Hellblazer, I would instinctively think of all the British authors available. I really don't see how an American writer could get Constantine's voice right. And in steps Jason Aaron. Possibly the most exciting comic book writer right now, Aaron is doing some great work both at Vertigo as well as Marvel. But Hellblazer. That seemed like an odd fit. But I love it when I am proved wrong, because ultimately proving me wrong involves writing great comics, and for that, I am game.

Aaron decided to visit a part of Constantine lore, that is often obliquely mentioned but has never been explored. His days as part of a music band. The story involves a TV crew who document little known bands who have been forgotten and here their attention turns to Mucous Membrane, Constantine's band, with a very dark past. The story is set in the band's haunt, in Constantine's favorite place. Yes, Newcastle. Switching back and forth between the TV crew and the interviews involving views on the band and Constantine, we slowly realize that there's something sinister lurking beneath the Casanova Club. While thats a familiar story, it is the execution that sets this issue apart. The front half of the book is loaded with foreboding, yet, the atmosphere is pretty casual, with generic characters and relationships. But when the horrors start piling up, they do so with an alarming speed and gruesomeness that characterizes British horror.

And all this without even the presence of Constantine in the story, who only manages to enter the picture on the last two pages, as he prepares to return to Newcastle. But this has been done before, even recently by Diggle and it hasn't managed to get old, yet. Aaron knows about Constantine, what makes him tick and what has made his series last for 20 years. The specter of Constantine is present throughout the story, even though he's personally not present. He builds up the inevitable meeting between the horrors that reside under the Casanova Club and Constantine, using horror that Hellblazer fans are all too familiar with. Sean Murphy's scratchy pencils complement Aaron's story as we are served another solid Hellblazer issue. This has become a habit, and I couldn't be happier.

Charlatan Ball #1

Amazingly there were two solid #1's that came out from Image this week. And though I am writing about only Charlatan Ball, I liked Red Mass for Mars more than I did Charlatan Ball. A little baffling, but then again, this is not the first time I have been baffled by Hickman's writing. That he finds time to write multiple comics, draw one, and still color this, delays notwithstanding is still more baffling. But I digress, I still want to talk about Charlatan Ball, because even though I liked Red Mass more, Charlatan Ball had that vibe going for it that makes books grow on me with time. And any Casey comic I can think of does the same to me.

The highlight of Casey's writing in this issue is the narration. Its not very clear whether there's actually a narrator from the fictional world of Charlatan Ball, or its simply Casey narrating in "True Believers" style, but its done in an interesting manner. This first issue is obviously a setup issue but the setup is done more obliquely than is the norm these days. Its not filled with story heavy exposition, but it introduces the protagonist, as well as the big bad. And we get to see a few pages from each. But while the bad guy, Demon Empty(yeah, thats his name) seems pretty generic, our hero Chuck Amok, while also a little cliched, seems to have more personality than the typical loser. He's got a sense of humor, and whats more, he doesn't fail to use himself as the subject of humor. He's got a rabbit sidekick, who becomes, well, I don't have words for what he becomes. Maybe I can call it Super-rabbit. So we do get introduced to the main players, get an idea of the overarching plot, as well as get an idea of what sort of tone Casey is going to use.

But I do think that the best thing about this issue is the art. As I said before, its groovy. And although there's an obvious Kirby influence, the art has a very distinct style. And the coloring adds a lot to it. I look forward to what crazy panels Andy gets to draw in future issues. Because all those covers look out of this world.

As I said before, this was a good issue, but not as good as I had expected it to be. I can't help but think how different it would have been if it was a regular sized issue. All complaints aside I look forward to future issues.

Criminal Vol. 2 #3

This week saw the release of the third issue of this series. There was a long gap between issues two and three which Brubaker explains was because of Philips' who lay sick on a hospital bed and still drew this issue. And it still looks sexy as hell. Maybe he used all that pain to good use.

This is third in a series of one-shots that focus on a particular character, and this time we have Danica's story. Danica has been a player in the last two issues as well, and now that I look back it seems natural that this was an inevitable story. Brubaker non-linearly brings us to this point, with the first issue telling us about Danica at the very beginning, but also at the end, while the second issue told us what inevitably lead to that end. This issue tells us of the events leading up to the story in the second issue. And that is where my sole problem with this book lies. It is very obvious that Brubaker wants us to read the singles, but these issues are much more satisfying when read together, as the dots Brubaker puts in there, are so much more satisfying when connected.

That aside, I believe this issue would still have been very satisfying for anyone who decided to pick it up, without having read anything before. Even I didn't remember most of what had happened in the past issues, and had to go back and read the past issues to discover the connections. And yet it was beautifully written as a stand alone story. It opens with Danica in a car going somewhere with a man, who is the everyday average man, with non average fantasies. The story is mostly a flash back as we go through her past and her many tragedies. And Brubaker excels when dealing with shades of gray.

The main character is by no means, an angel. She's, as cliches go, molded by circumstances. And yet there are parts of her that aren't black. She still has some kindness in her, the realisation of which leads to the inevitable conclusion of this chapter, as revenge becomes everything for her. And we wait with baited breath for tragedy speeding towards her. The last one. And when it comes to tragedies and noir, count on Brubaker and Philips to deliver.

Comics from April 9

This was a disappointing weak for me as a DC fan. And that is heightened considering two of the strongest series from DC came out this week. Both Booster Gold and JSA suffered from slow pacing, and no movement of plot. As before I review two comics that I was impressed by among the bunch I have read till now.

Wonder Woman 19 - Gail Simone continues her run, rejuvenating the character of Wonder Woman from the mess it had become earlier. After the 4 issue arc The Circle which introduced new antagonists that actually measured up to the standard of Wonder Woman, this 2 issue arc Ex-Patriate sends her on a space adventure.

Gail has been highlighting the warrior aspect of WW throughout her short run, and last issue showed that her renown as the same is not limited to earth. Khunds, whom I have no previous exposure to, are supposed to be a tyrant, warrior race with the sole aim of conquering other civilizations. Wonder Woman is called upon to save the same race from genocide, by appealing to her compassionate side. Last issue ended with Wonder Woman discovering a Green Lantern out to stop her. This issue continues with that fight and we go straight to battle mode. Reading WW's thoughts show her as a shrewd strategist. War is not her first choice, but when driven to it, she fights to win. WW defeats the Green Lantern with a very new use of the lasso, the lasso being something Gail has been highlighting in her run. But the scene after that, where WW offers her hand in peace, shows her resolve towards peace. Brilliant writing. The last scene is characteristic Gail humour, something that defines her writing, and shows that if given the chance Gail can be a solid Green Lantern writer.

There were a few Tom Tresser scenes where he goes through an internal monologue, but it seemed largely irrelevant to the main plot here. Clearly it is supposed to pay off sometime in the future but for now, it is clear Tom Tresser is not the strongest part of the cast in this book.

The art by Bernard Chang was impressive, though suffering from the rather bland inking throughout. Chang is clearly more comfortable drawing characters rather than backgrounds but his fight scenes were well drawn. All in all, a Good Read

Gamekeeper V2 02 - The first volume of Gamekeeper had thoroughly impressed me. Both Andy Diggle's writing and especially Mukesh Singh's art had made the series into a Must Read every time it came out. That they were going to do a volume 2 had both filled me with dread since neither of the creative team were returning but also anticipation since I like Jeff Parker's writing.

I need not have worried. The transition is smooth, although after Mukesh Singh's art, Ron Randall's art in the present series seems to be a step down, but its very competent. Jeff Parker shows that he has the chops to deliver an enjoyable and action packed story. And one fact that I notice is that Parker writes it in such a way that you don't have to remember who each of the characters are. He expertly weaves the threat levels of each of the antagonists without having to go into any exposition and the same time he paces the story well to both highlight the expertise of the Gamekeeper as well as the main antagonist.

Parker's Gamekeeper is still Diggle's Gamekeeper. Very dangerous and with a sharp mind. At the same time he builds up the character of Raven as a foil for the Gamekeeper. What lies ahead promises to be an exciting read. And for now, like Diggle's series, this is a Must Read.

Secret Invasion #1

Because This is supposed to be hot, right.

I am primarily a DC fan. I like my fair share of Marvel(by fair, I mean 2 or 3 titles) but I like to think that if there's something good from either company I'll read it. So reading this was an endeavor in that direction.

And besides its supposed to be hot, right.

I came into this without ever having read either of the Avengers titles. Well except that one issue where Elektra is killed, and turns out to be a skrull. I disliked that issue immensely and decided that not reading Avengers was a good decision on my part. I even read the first issue of Mighty Avengers. And the use of thought balloons was so nonsensical, I decided to not try any further.

Right, thats the background. No previous knowledge of where this title is coming from. The issue opens with........ Ok, I don't think that method of reviewing will work, because this issue really didn't have a plot. It was a series of reveals. With first character A revealed then character B and then a whole spaceship worth of possible characters. All of that w have been cool, IF, I actually knew most of these characters. I was actually revealed in the online prologue that Dum Dum Dugan was a skrull. Now that would mean something to me if I actually knew who this Dugan fellow is. And then there's that full page of Mar-vell indicating that either he's a skrull or he knows someone at Thunderbolts is. And I have no idea who Mar-vell is. Am I supposed to think that Bendis is trying to tell me, go read the tie-in issues because I can't tell you everything here. Is that what self-contained is supposed to mean. I don't think so. And if this crossover is supposed to bring in new fans, well then good for Marvel. But the new fans might not last long reading such a series.

So instead of a plot, we have a series of reveals. And instead of a script, we have what I may refer to as Bendis-speak. Because thats what most of the dialogue, especially in the pages containing Stark, Pym and Reed had. Bendis-speak. Unreal, unfunny and without the slightest amount of edge which a title whose entire premise is an underlying paranoia, is supposed to have. Then again, writing like this is the primary reason I do not like Bendis writing superheroes.

Yu, on the other hand impressed me. While I would hardly call his faces expressive, the actual line work was good, making you want to look at the pages slightly longer than what a Bendis script would make you.

Mind you, this was more of an analysis. When I first read it, I felt it was alright. Nothing brilliant but readable. On the other hand an analysis of the issue would make it out to be worse than it actually is. Why that discrepancy? Possibly the fact that the scope here is huge. That feeling you get when you are going into a blockbuster movie which sometimes clouds your judgement because of the preconceived notions about it. Thats what this has.

Besides, how can I not like the fact that both DC/Marvel are basing their big events this year on Kirby's stories. That counts for a lot in my book. But then again, in my book, Morrison has no equal in skill. That may indicate where my sympathies lie in terms of stories I am looking forward to.

Comics from April 2

I still have to read stuff but there are two comics I read this week that require special mention.

Infinity Inc 8 - This title is floundering in sales. That is no secret. But this is pure genius. That, I believe, is a secret. Peter Milligan is one of the best writers to have ever written comics books. But he doesn't always write with that brilliance. The atrocious Ras Al Ghul arc was an example where he write two Robin issues. The less I say about them, the better. But at the same time he's writing two brilliant series, that have hardly been noticed. The Programme and Infinity Inc. The former may be the subject of a post I do some other time but right now we are talking about Infinity Inc.

Its been hampered by the fact that most conventional comic book fans don't get it. This is not a superhero comic in any sense of the word. Its very much a Milligan comic exploring many of the stuff that Milligan does explore in his comics. Like the mind. The effects of events happening around you on the mind. How much your personality gets shattered by tragedies. Or for that matter by your inability to express yourself as you truly are, or want to.

There are characters from just about every part of that spectrum in here. Natasha, who lost her powers that defined her, being almost second nature to her. Erik, who isn't sure why he's a man, because he's more in touch with his feminine side. Gerome, a very introverted person, who wishes to project otherwise, and so on. Milligan expertly used the angle setup in 52(Oh, how I miss that title) of Luthor giving them powers and then taking them away, here. He establishes the basic premise, that those powers didn't really go away, and are now mutating into projections of their thought processes. The first few issues got off to a very slow start, and dealt primarily with the psychosis of the antagonist of the first arc. But it seems that most fans, as well as it seems DC Editorial didn't like the art which was very much in keeping with the mood of Milligan's writing. So now we have Pete Woods, who is, in every sense of the word, a superhero artist. Not that there's anything wrong with that, but its very different from what an ideal artist for Milligan would be. Yet, Milligan takes that in his stride and even creates humour out of Woods coming on, and the members getting costumes. The panel where Steel says "Now that you have costumes you need the things that all heroes need" and Nat says "Personal Problems?" is evident of that fact.

There's more humour in this issue than has been in previous issues, which is an added bonus. Milligan seems to be using Steel as a representative for those fans and members of DC Editorial who want it to be a more superhero book, which would make it like any other of the thousands of comic books available. The scene where Steel comes up with costumes, as well as the one where he comes up with their secret identities both have dialogue that seem intentionally stilted, in contrast with the rest of the issue. The issue mostly deals with the Infinity Inc actually become Infinity Inc, their members trying to accept someone they have fought before as enemies, as well as a continuation of the Gerome arc. Nat, Erik have already had stories highlighting them. I hope similar stories are told for the rest of the team, for these characters are more interesting and well constructed than almost any character in comic books today.

In closing, I hope Milligan gets to tell a lot of stories on this book in the future, sales be damned.

Action Comics 863 - Now this is pure superhero comics, unadulterated. Both pure and unadulterated do mean the same thing, but this comic and Johns' writing deserve those adjectives doubly, and hence the repetition.

There's all the elements that make a great Geoff Johns comic in there. Continuing from last issue's cliffhanger the story moves forward on two fronts. The simultaneous beating that Superman gets at the hand of Earth-Man, and the Legion fighting the Justice League. The outcome is obvious yet, Johns manages to make it exciting. Edge of seat stuff. The eventual moment when Superman opens his eyes is choreographed in a beautiful way. The cheesy Superman dialogue "I am for everyone" works, in Johns' script, and so does the Legion splash page. Correction, the splash pages. And as an added bonus Johns manages to touch upon Superman's deep rooted connection with the legion in a touching manner.

Gary Frank's art seems much better than all the previous issues, which were dominated by the oddly looking wide-eyed look. He gets to draw two splash pages with the legion in all its glory and does not disappoint.

And if the actual issue wasn't enough, the teaser images at the end is there to get your heart racing. Johns and Perez on a Legion book is a promising notion. August, though is still a far way off.