Dark Night: A True Batman Story (June 2016)

Dark_Night_A_True_Batman_Story_2016Superheroes appeal to children because, as Paul Dini points out in this memoir, they’re a child’s power fantasy. This book is about how he got brutally injured in a mugging while working as a writer on Batman: The Animated Series and his irrational shock that Batman wasn’t there to save him. Therefore the book is also about the fragile mental state of adults who still idolize superheroes beyond childhood, but Dini skims over that. He still idolizes funny underwear men for a living to this day, and that perceptual limitation is really the only thing keeping this very good comic from being great. Still, it’s probably the best Batman story of the year by far. They should’ve gone all out on promotion, instead of making it a Vertigo Book and arbitrarily consigning it to second-tier notice, for the sin of admitting Batman isn’t real.

A young man’s interest in fictional superheroes as objects of sincere admiration, rather than entertainment, grows inversely to their maturation, including the ability to physically defend themselves. This is the true stereotype of the 98 pound weakling who’d rather read Batman comics than play sports growing up – and now it’s worse, they’d rather play the Arkham Asylum games which Paul happened to write. Batman wins every millennial’s popularity contest for being the so-called “most realistic” superhero. His lack of superpowers suggests the illusion that if his geekiest admirers were sufficiently motivated by the most primal early trauma (premature loss of parents) and had access to unlimited time and money, they too could become strong enough to scare bullies. To step back and chart one’s enjoyment of Batman over time is to graph one’s personal growth or lack thereof. For those lucky enough to land a job writing the character, reality can get even more confused if you’re not sufficiently grounded. Paul Dini was vicariously living in Batman’s world for a living before reality kicked the living shit out of him.

Dark Night is about his rehabilitation and the wisdom garnered, only he didn’t seem to learn all that much in the final analysis. So he uses Batman, who has more moral authority than Jesus to people of my generation, as one of several licensed characters serving as an imaginary chorus whose words can convince us, and himself. It’s a very well done comic, but also a bit of a therapy session that’s overly self-congratulatory. Big questions about the power of myth or the actual danger of crime are sidestepped in favor of solipsism. At the conclusion he postures towards sharing some greater knowledge from the experience, but it winds up a fatuous “shit happens, dust yourself off and don’t be bitter” kind of message, after frequent avoidances of weightier aspects touched briefly and then ignored. The only one he devotes any attention to, since it figured most prominently into the difficulty of his recovery, is the low self-esteem of the average nerd. Even one whose dream of writing Batman cartoons came true.

I grew up on Batman: The Animated Series and as many fans will tell you, Dini wrote several of the most memorable episodes. What seems obvious in hindsight is how many of his episodes were either about bullied wimps or the lovesick: Joker’s Favor, The Man Who Killed Batman, Heart of Ice, and especially Mad as a Hatter – an effective origin tale for The Mad Hatter in which Jervis Tetch plays White Knight to his own workplace Alice and becomes a Dark Knight villain. At the episode’s climax, Alice is rendered comatose by mind control and Batman enrages the lovelorn geek by pointing out that what he truly wants is “a soulless little doll,” not an actual three-dimensional woman. Dini makes a big point of establishing his unsuccessful love life as the catalyst of fateful evening, albeit indirectly – it happened after he walked home from a bad date, rather than accepting a ride from the young would-be starlet who’d just given him the kiss-off. As Dini points out, the walk was through wealthy West Hollywood so it wasn’t an irrational assumption that he’d be safe. As he imagines various Batman villains anthropomorphizing his inner demons, the face of womanly torment is Poison Ivy rather the perhaps more apt choice of Mad Hatter. When narratively taking stock of his poor life decisions, chief among them is his pursuit of dating actress/model types whom he could brag about to his friends, rather than a woman he could someday marry. Soulless little dolls. As the adage goes, Hollywood is high school with money and a writer for Tiny Toons with ties to Steven Spielberg is like a dork whose rich parents are lending him their Bentley.

Dini puts so much weight into his lack of validation by beautiful women before getting jumped – and then, weirdly, the only follow-up is the unsurprising detail that one of these gold diggers barely cared about his situation when called up for sympathy. By this point we’ve already read the chilling page where, bloodied and beaten, he realizes upon staggering home that there will be no one inside to comfort him. Later in a flashback sequence during his hospitalization, he recalls being stood up by another pretty girl as his date to the Emmys. Despite winning and taking home one of the awards, his self-loathing apparently ran so deep he proceeded to cut himself in front of the mirror using the statuette, expressing disgust with his own chubby bespectacled nerd self. It’s a stunning and powerfully symbolic admission. He prefaces the night of his attack with all this fear of sexual inadequacy, but fails to draw any connection between the twin injuries to his masculinity: romantic rejection and getting your ass kicked. It doesn’t get any worse than that for the male ego, especially in the course of a single evening. His subsequent despair that he somehow deserved what happened, as karmic balance to his artistic success in life, is a crisis of manhood that he thinks himself too unique to grapple with. As his own narrator to this chapter in his life, he never lets on any understanding that the reader might have endured the same fears and sufferings, including his soon-to-be lowest point.

Recuperating from the horrific attack, holed up in his apartment and descending into depression, the principal question quickly becomes how Paul will find the will to continue writing Batman in a world where Batman doesn’t swoop in to save you IRL. The most striking passages of this comic aren’t Dini imagining Batman as a stern father figure, telling him to get up and stand tall after being knocked down. They are of The Joker insidiously urging him to wallow in self-pity and retreat into comforting overindulgence – fast food, video games, movies, et cetera – after the world has traumatized him. Joker even sells this retreat as a return to the “childhood bedroom” of Dini’s “invisible” youth, fleshed out in a few autobiographical pages at the start. This is particularly fascinating when taking into account how The Joker has equaled or eclipsed Batman’s popularity in mainstream culture by embodying narcissistic hedonism. (The 1989 film puts the sensitive creative person’s spin on this: The Joker as the dark power fantasy of the insensitive artist who “makes art until someone dies.”) Paul’s apartment is a den of toys, animation cells and “the trappings of geek nirvana.” Holy Target Audience, does he even realize he’s describing a large section of his readership? What’s disappointing is that he took what could have been a widely relatable true-life parable for every superhero fan about the limits of their escapism, and the soul death of arrested development, and instead portrays the restoration of his professional status quo – product output at the dream factory – as the crucial triumph.

Probably the most fascinating and telling scene is Dini’s anecdotal rebuttal to the traditional methods of manning up. As the wounds start to heal, Batman recommends that if he feels unattractive and physically vulnerable, he could lose weight, get in shape and start learning how to fight. In response to this completely reasonable proposal, Paul does a shock jump-forward to the day he almost bought a gun. Batman then mocks him for wanting to be like James Bond. In an evasive obfuscation, Paul retorts that he could never be like Batman. Now, Batman wasn’t implying that Paul become a real life Batman, just that he could regain confidence by dropping a few pounds and looking less of an easy target. Batman, who is of course Paul Dini writing a dialogue with himself, accuses Paul Dini of engaging in a power fantasy. It’s circular and manipulative; Paul is actually reassuring himself that there’s no middle ground between being totally defenseless and deluding yourself into thinking you can become James Bond by buying a gun, or Batman by taking karate lessons.

In the introspective wrap-up of the book’s conclusion, The Scarecrow taunts Paul with the potentiality of living his life in fear of future assailants, to which he retorts that he can’t live his life in fear of lightning strikes, either. He seems oblivious to the fact it is an extraordinarily privileged position to regard potentially fatal assault and battery as a statistical freak occurrence, no more predictable than natural disasters. For pity’s sake, one of the best scenes in the comic is the LAPD’s indifference to Paul’s plight after the incident, and his incredulousness that they’re not even going to dust for prints like The Dark Knight Detective™. He certainly admits to the hard-learned fact that the police aren’t always going to be there for him, let alone Batman, but he still won’t take any personal measures to feel safer in the future, still regarding violence as something unreal. Rationalizing to Batman that he’d have been murdered if he’d “tried anything physical,” he’s more or less alluding to the “one bad day” trope of The Killing Joke every Bat-fan knows by heart, telling The Joker that to “embrace anger and cruelty and try to use them to feel powerful” would be going down the path of Joker rather than Batman. Jeez, Paul, we get it, you didn’t want to start lifting weights. It’s a bit socially irresponsible to promote the idea that taking measures towards self-defense is tempting fate, just because you never thought you’d have your life threatened and don’t want to believe it could ever happen twice.

There’s an awkward racial component in Dark Night, injected but never acknowledged, which may help explain why Dini depicts himself as so guilty over his instinct to somehow toughen up after his bloody beating. Yes, the two guys who stomped him bore the curse of Ham and moments before their paths cross, Dini’s inner monologue chastises himself not to “be the dick who changes direction just because he sees a couple of black guys.” Later, Batman criticizes him for not thinking like Batman would upon seeing “two figures huddled close together, faces obscured, moving toward toward you in a predatory manner!” Hey, Bats, you don’t really need to profile when you live in a fictional city unstuck in time where all the criminals still wear fedoras. Batman then blames Paul for not changing direction from the two thug-lyfe looking gentlemen because he was “too worried about looking scared or judgmental.” It’s worth considering that at the time, it had only been a year since the Rodney King riots and Los Angeles was still on edge about black-on-white violence. One page later, a black colleague at the Warner Brothers Animation office bluntly asks Paul if the guys who did it were black. And he lies – he says only one of them was. “Damn it” the staffer says, and offers Paul a handshake, an implicit apology on behalf of all brothers. The matter is never brought up afterwards, and Dini doesn’t feel it incumbent on himself to explain to the reader what it says about him that he felt the need to lie. Later, there’s a suspicious glance cast at a black guy who approaches him in a music store, but whew – turns out he’s just a Tiny Toons fan. Again, as omniscient narrator, Dini never acknowledges any of this racial tension. I’d guess his reluctance to start seeing the world in a harsher light is at least somewhat tied to a fear of racially profiling which his conscience can’t allow. This fits right in to his self-absolving faith that the morally superior attitude towards violent crime is, as he literally states, to think of it as lightning which won’t strike him twice.

Dark Night promises more than it delivers in terms of thematic depth. However, the emotion is all there. The concept of a Batman writer, especially a talented one like Paul Dini, using the characters as invisible friends and enemies throughout his true story of surviving being the victim of a violent crime is such a solid, inspired basis for a graphic novel. It’s the kind of meta-story for which these characters are very well suited after 75 years of exhausting every possible straightforward comic book plot. They function best now as icons, which is why the comic is a clever and enjoyable read and The Lego Batman Movie will make more money than all the other Batman movies combined. It’s always preferable to see more poetic use of the characters than seeing them wedged into ill-fitting “realistic” stories. Dini does muddle around the big questions when he uses Batman for rhetorical stances on actual important matters like guns and criminal justice. What’s genuinely moving are the times when he sincerely exposes his vulnerability, holds his ego to account and examines how creative artistry shapes his worldview, in good times and bad.

Speaking of artistry, there’s really nothing to say about Eduardo Risso’s illustration except that it’s masterful. Dini’s career requires him to visually reference not only Batman: The Animated Series but other pop culture from Beany and Cecil to Neil Gaiman’s Sandman and he’s always on-model. His own original designs for the Batman villains are simultaneously ugly and very appealing. He draws Paul past and present, in realistic and caricatured styles, sometimes changing from panel to panel depending on narrative needs, without ever misstepping. The color is also incredible, emphasizing every mood and blending human beings with Paul’s cartoon imaginings seamlessly.

This “True Batman Story” ends on a note of hope, with Harley Quinn welcoming Dini back to work. Harley Quinn is one of the worst Batman characters ever created, a supremely irritating Manic Pixie Dream Girl that could only have been invented by someone with issues around women.

Still, at least she only shows up in the last couple pages. Highly recommended!

CREDITS

Dark Night: A True Batman Story; story, Paul Dini; art, Eduardo Risso; letterer, Todd Klein; publisher, DC Comics.

The Dark Knight III: The Master Race 2 (December 2016)

4960053-dktmr_cv2_ds-1The only unpredictable turn of this comic is that DC actually does allow Miller & Azzarello to acknowledge the existence of The Dark Knight Strikes Again – which is looking better every day compared to The Master Race’s cowardly underwhelmingness. Issue two rehashes virtually everything from the previous one. The only addition is the introduction of a villain behind the bottled city of Kandor’s titular Übermenschen, in a twist everyone should have seen coming. What’s more disappointing is how Miller’s greatest hits are still being dusted off for what’s shaping up to be more of a soft reboot of the “Dark Knight” brand than anything singular. Ellen Yindel interrogates Carrie Kelly in a jail cell copied straight out of Sin City, and then the Bat-tank returns for an action scene. Bruce Wayne is revealed to still be alive, spoiler alert, though this revelation might be the only hope the series has for entertainment value as nobody writes Batman as batshit as Frank. But to tease Batman as being truly dead and then back away from the idea is fake boldness, as seeing Kelly carry on without Bruce would be intriguing. Alas.

Time is weirdly out of joint in the DKU. Bruce Wayne and Ellen Yindel look exactly the same as we saw them in ’86, which wouldn’t necessarily be distracting except for dialogue when she actually points to her face and calls herself old, despite Andy Kubert obviously not having aged her a day. His art is still nothing if not professional; the 1989-style Gotham City looks terrific and the double-page reveal of Kandor’s formerly teensy, newly enlarged inhabitants is worth a pause. Where he falters is character work. There’s not an iota of humanity in anyone’s closeups. In particular, an extreme closeup of The Atom’s face (how ironic) is unpleasantly mannequin-like. Again, one wishes for the raw muscle of Miller’s pencils over Kubert’s cold slickness. Maybe the worst thing about the second chapter of The Master Race is how Miller didn’t even pencil the inset comic, the conceptual highlight of issue one. Artist Eduardo Risso’s action scene between Wonder Woman and daughter Lara is adequately staged but stiffly posed, with flat detailing worsened by Trish Mulvihill’s flat colors.

I’m neither a fanboy of, nor a hater on Frank Miller. His contributions to Batman’s history are invaluable. But he and Azzarello need to justify this series, quick, because if someone as open-minded to the venture as me is already frustrated, I can only imagine how unimpressed the average young reader must be so far. Miller’s sentimentally terse flavor of writing barely registers, and with the broken promise of at least getting new art from him once per issue in a mini-comic, there may be no compelling reasons to ride this cash-in all the way through.

CREDITS

The Dark Knight III: The Master Race Book Two; story, Frank Miller & Brian Azzarello; pencils, Andy Kubert and Eduardo Risso; inks, Klaus Janson; colorists, Brad Anderson and Trish Mulvihill; letterer, Clem Robins; publisher, DC Comics.

Brother Lono 8 (April 2014)

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As finishes go, Lono doesn’t have a bad one. It’s not great. It’s good enough. Azzarello seems to be showing a lot of restraint, like he didn’t want to do too for a finish. Like he didn’t want turn make Lono into too much of an action hero.

Instead, Azzarello focuses on the bad guy. He’s comical at this point, just because no one’s scared of him anymore and he’s got the whole twin aquarium thing going on. It’s humor. Very, very black humor, but still humor.

But the story isn’t a humorous one. The stuff with the priest and the nun isn’t funny at all. The issue doesn’t have a tone. Azzarello doesn’t commit to any of the ones he toys with.

It’s a shame Azzarello couldn’t maintain the level of intricate plotting he had at the beginning of the series. Like I said, though, the issue’s not bad.

B 

CREDITS

¡El Perro Loco!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editors, Gregory Lockard and Will Dennis; publisher, Vertigo.

Brother Lono 7 (February 2014)

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For the first time, I’m very unimpressed with Brother Lono. Azzarello is dragging things out–Lono’s getting tortured, the priest is trying to patch things up with the drug lords (or something, Azzarello is iffy on his actual motives), and the sister is going to get the sheriff. These subplots don’t come together. Azzarello races through each of them, with Lono’s being the worst because it’s a torture scene. Not particularly amusing. Or even engaging.

Even if Risso can draw some gross things.

It’s not exactly a bridging issue; it’s more like being stuck in the middle of a bridge you could see across before you started. It’s a dragging out issue and one with all big events. All that flavor Azzarello and Risso previously brought to Lono is gone.

The issue isn’t bad by any means, it’s just lacking and pointless. One could easily skip it, which is unfortunate.

B- 

CREDITS

¡El Inferno Llega a Casa!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editors, Gregory Lockard and Will Dennis; publisher, Vertigo.

Brother Lono 6 (January 2014)

289533 20131120101852 largeI hate the moments where the writer makes a big revelation his protagonist is actually the biggest badass in the world. At best, they’re hollow, at worst… well, they’re hollow and bad. Except Azzarello pulls it off here. And he pulls it off because of how he’s structured this series so far.

With Lono, Azzarello has done a somewhat gentle structure–the lives of the people in this town, in their particular situations, all brought together. When he reveals the “truth” about Lono, he does it through the characters he’s established. He throws a lot at the good guys this issue and their characters react and develop wondrously. Azzarello writes the heck out of the characters here.

And then there’s Risso’s art. Risso gets to do a huge action sequence after a couple lengthily paced sequences. He does great work.

It’s an outstanding comic; raises my hopes for the series.

CREDITS

¡La Canción de Los Torturados!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editors, Sara Miller and Will Dennis; publisher, Vertigo.

Brother Lono 5 (December 2013)

Lono 5The hard cliffhanger suggests Azzarello is finally getting to the inevitable bloody showdown in Brother Lono. He’s been setting it up, foreshadowing it with corpses mostly; it sort of had to happen, otherwise there wouldn’t be an epical plot line… but it’s also unfortunate.

So far, Brother Lono has been Azzarello and Risso delicately, intricately laying out scenes and connections. Azzarello manages to make it worthwhile in singles, but obviously more connected in the eventual trade. Giving it a big finish won’t undo the good work they’ve done, but it will suggest there’s a limit to how far mainstream comic can go. Of course, if they didn’t have eight issues for Lono, there would have had to be a lot more action.

Most of the stuff this issue’s character work. Azzarello plays the characters off one another–but not necessarily nefariously. Risso does great with those scenes.

Again, good stuff.

CREDITS

¡Los Hijos de la Sangre!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editors, Sara Miller and Will Dennis; publisher, Vertigo.

Brother Lono 4 (November 2013)

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Azzarello continues what one might call a peculiar approach to Lono. Nothing big happens during the issue; there might be cliffhanger–this issue has a soft one–and there’s a possibly big followup to the previous issue’s cliffhanger at the beginning, but it’s very mild otherwise. It’s horrific, sure. There are drug lords doing terrible things to one another and to regular people (this issue it’s more the hint of terrible things), but it’s almost tranquil.

Azzarello introduces another new character, yet another bad guy, and sort of follows him around for the day. When he gets to town, when he meets with a drug lord, how he spends his evening. It’s all very, very calm.

There’s a texture to Lono, a relaxed pace. It’s hard to anticipate what’s going to happen–though Azzarello does bring in a thing from the first issue–because the events don’t matter.

Good stuff.

CREDITS

!El Monstruo Del Norte!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editors, Sara Miller and Will Dennis; publisher, Vertigo.

Brother Lono 3 (October 2013)

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Brother Lono is tough this time around. It has the first attempt at a issue long subplot, which isn’t a bad thing at all. There are bodies on holy land, which ends up causing trouble for just about everyone.

Sadly, Azzarello doesn’t do a lot to establish the characters based their caricatures. There’s the beautiful young nun with secrets, there’s Brother Lono–I wasn’t clear, in the first issue, he just slept in jail; I thought he just got out–and there’s the priest. Oh, sure, there are other characters–the cop, the bad guys, some more bad guys. But it’s all pretty simple.

And Azzarello doesn’t exactly do anything wrong with those simple characters. Their actions make them a little more complicated, but not really. Lono isn’t somewhat shallow, but Risso’s art and Azzarello’s harshness make it a lot of fun.

The dream sequence is just wasted pages though.

CREDITS

!El Amor de Los Muertos!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editors, Sara Miller and Will Dennis; publisher, Vertigo.

Brother Lono 2 (September 2013)

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Okay, Azzarello sort of sets up the series here. He’s going split it between Lono, June the new nun and the assistant to the drug lords. I don’t think there’s anything else.

There’s quite a bit about the drug lords, which isn’t particularly interesting. The scenes are all expository. There are no slips of anything deeper or better.

The opening scene with the nun and Lono is really good, then she later talks to the priest. It’s good too. Hopefully Azzarello’s got something good planned for her in this series.

But the Lono stuff is a problem. He runs off to town to drink at the bar–he, the nun and the priest all lie at an orphanage–and Azzarello starts this terrible, first person narration. It’s shockingly bad, especially since nothing else in the issue is as poorly written.

It’s a decent enough issue, just a lot of problems.

CREDITS

!Tu Pasado te Matara!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editor, Will Dennis; publisher, Vertigo.

Brother Lono 1 (August 2013)

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I’m not sure I understand anything in this first issue of Brother Lono except the titular character has been in the town jail for a while and he gets out. He’s on a mission to escort a visiting nun–of course she doesn’t look like a nun–to the parish. I think.

Brian Azzarello fills the rest of the issue with drug cartel guys torturing people for information, threatening priests, implying police corruption. Then there’s this meticulously crafted finale outside the bus station. The bad guys are looking for a DEA agent, Azzarello hasn’t revealed the nun yet and there are like three other guys doing shady things. It’s a beautiful sequence, even if it doesn’t make any sense.

Or maybe it all does and I’m just really tired, but I don’t think it does.

Eduardo Risso’s art is excellent. He gets bloody, but still implies even more.

“Fun” stuff.

CREDITS

!El Hombre Respira!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editor, Will Dennis; publisher, Vertigo.

Before Watchmen: Moloch 2 (February 2013)

Straczynski turns Moloch into the martyr of Watchmen. And he gets away with it. Moloch’s such a broken soul, it’s feasible he’d bend to Adrian’s will. As for Adrian, who practically gets more page time here than Moloch, Straczynski seems to recognize what he and Moloch have in common… they’re both illusionists. Adrian’s convincing Moloch he’s doing the right thing, which includes killing lots of people.

The issue covers the time Moloch leaves prison–Adrian gives him a job fit for a member of the Red-Headed League–up until his death. Because Straczynski is so concerned with explaining another side of Adrian’s master plan, Moloch doesn’t really get to do much. He’s broken and sympathetic, nothing more. It’s too bad, since Straczynski writes him pretty well. He’s almost lovable.

Oh, and the pirate backup finally finishes. Higgins uses a lot of color for it but it’s still utter crap.

CREDITS

The Eleven-Thirty Absolution; writer, J. Michael Straczynski; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins. The Curse of the Crimson Corsair, Wide Were His Dragon Wings, Conclusion; writer, artist and colorist, John Higgins; letterer, Sal Cipriano. Editors, Camilla Zhang and Mark Chiarello; publisher, DC Comics.

Before Watchmen: Moloch 1 (January 2013)

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Even though Moloch appears in the original Watchmen, there’s a lot more talk about him than show. J. Michael Straczynski turns the character into a quintessential sympathetic villain. He was born with deformed ears, leading to teasing in childhood and other tragedies later in life. Straczynski uses first person narration, making the reader identify with Moloch even more.

Straczynski recounts most of Moloch’s career this issue–presumably next deals with how he ties into the original series’s big reveal–and it moves at a nice pace. Eduardo Risso’s a great choice for the art; he handles the forties time period beautifully. He plays with a lot of false innocence visuals.

I’m a little surprised Straczynski was able to do so much with Moloch. It probably helps he didn’t try too hard and it’s only a two issue series. The brevity helps move it a whole lot.

It’s an unexpected success.

CREDITS

Forgive Me, Father, For I Have Sinned; writer, J. Michael Straczynski; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins. The Curse of the Crimson Corsair, Wide Were His Dragon Wings, Part Four; writer, artist and colorist, John Higgins; letterer, Sal Cipriano. Editors, Camilla Zhang and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 12 (23 September 2009

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One should never hope for too much from finales. Especially not from an extremely uneven anthology series like Wednesday Comics.

Batman’s bad. Kamadi flops. Superman apparently only remembered after twelve installments he had a wife at home.

Deadman is okay. One of the better mediocre strips. Green Lantern is bad. Metamorpho is lacking; Gaiman tries too hard for nostalgia.

Teen Titans is awful, Adam Strange is great. Supergirl is cute again, but Metal Men goes out too dreary. I still have no idea what story Caldwell told with Wonder Woman.

Sgt. Rock’s lame again, but in a syrupy way now. Good Flash comic, though confusing, and an almost okay finish to The Demon and Catwoman. Hawkman is severely lacking too.

The winner of Wednesday Comics is easily Paul Pope for Adam Strange. The losers are just as easy–the inept team of Eddie Berganza and Sean Galloway for Teen Titans.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 11 (16 September 2009)

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Azzarello writes Batman as a rube while Risso tries to ape Sin City as a Batman. Gibbons once again summarizes the action too much on Kamandi. Sook’s barely got anything to do.

Superman is bad. As usual.

Deadman’s okay, Green Lantern’s awful. Ditto, respectively, for Metamorpho and Teen Titans. Hope respectively, in that sense, means Titans is the awful one.

Good (not great) Adam Strange. Poor (not terrible) Supergirl.

For the first time, Garcia-Lopez is too busy on Metal Men. All the large scale action hurts it. And Caldwell breaks out of his little panels for Wonder Woman. It’s a mistake.

Sgt. Rock is okay, The Flash is great. Demon and Catwoman sucks–it’s Simonson’s fault. Stelfreeze just doesn’t have anything good to draw.

Awesome Hawkman–the art’s astounding. Baker really outdoes himself.

Wednesday Comics is wrapping up. Shame most of the creators have no idea how to close.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 10 (9 September 2009)

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Batman versus dogs, Azzarello’s inspired and Risso can’t even draw a cool Batmobile. Kamandi comes back a little; there’s a big battle scene, lots of panels. Arcudi misses a great Superman: The Movie homage on his dumb Superman strip.

Deadman’s okay, though all the action seems inappropriate. Green Lantern is lame; Busiek doesn’t understand weekly one page pacing. Metamorpho is competent but lame. Teen Titans is awful. Galloway’s a terrible writer.

Pope’s Adam Strange rocks. He’s clearly wrapping it up. Supergirl’s weak again. Too much plot, not enough cute. The Metal Men has some great art and a touching final couple panels. The Wonder Woman is once again confusing but still good. Maybe Caldwell just needs more space to tell the story.

The Sgt. Rock is okay. Far better than the strip’s worst. Decent Flash; very sci-fi.

Predictably lousy Demon/Catwoman and great Hawkman.

Comics is almost over.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 9 (2 September 2009)

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The art on Batman’s good. Risso’s aping Frank Miller, but it’s a stylish fight regardless. Kamandi continues to have story problems and poor Sook has nothing active to draw. Crap Superman. Nice Deadman. It might be Comics’s underdog strip.

It’s the best Green Lantern, which says little for the strip. Metamorpho‘s periodic table gimmick is so tired in its second week, Gaiman’s even bored writing it. I think someone told Berganza he was writing a kids’ cartoon for Titans, not a comic strip.

Good Adam Strange. Pope hasn’t topped his Earthbound Adam development so it’s kind of underwhelming.

Lame Supergirl (too wordy), okay Metal Men. Wonder Woman’s fine, Sgt. Rock’s not awful.

Oh, The Flash. Fletcher and Kerschl homage various comic strips. It’s fantastic. Best thing this issue except Baker’s Hawkman versus T-Rex panel.

And The Demon/Catwoman is awful again. Its quality’s plummeted.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 8 (25 August 2009)

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Batman’s bad; Azzarello’s desperate to make it a noir and he just can’t. Kamandi’s mediocre. Still nice art but the story’s stalling. Superman has no story and is bad too. Deadman’s got some great art.

Oh, Green Lantern. It’s weak again. Metamorpho’s fun, with a periodic table gag, but there’s no story. Teen Titans is inexplicable and bad. Adam Strange is confusing and fantastic. Supergirl’s tiresome. Very nice art on Metal Men from Garcia-Lopez, even if Didio’s run out of character moments.

Wonder Woman’s nearly comprehensible, even if Caldwell wastes most of his page. Sgt. Rock’s lame but not bad, The Flash is good. Oh, The Demon and Catwoman. Stelfreeze is wasted on such big panels. His work looks better when it’s precise, not emboldened.

Baker’s got a neat Hawkman, spanning two or three genres. Interesting Batman rendering too.

Comics’s moving along.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 7 (19 August 2009)

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Batman is a little better than usual. Not the art, but at least Azzarello writes two scenes. On the flip, this Kamandi strip is probably the weakest. Still good, but pointless.

Superman’s crap, Deadman’s pretty but slight, the Green Lantern is pointless. The Metamorpho, however, is weird in a good way. Crappy Teen Titans, but amusing–Berganza says Starfire is almost seven feet tall, Galloway draws her shorter than Robin. Great Adam Strange. Pope has really made the strip his own thing. Supergirl–with the Aquaman guest appearance–is weak again.

The Metal Men strip is still charming, but it’s starting to drag on. There’s a bunch of stuff in Wonder Woman but I’m not sure I understand it. Caldwell writes a great Etta.

Sgt. Rock is a little better, The Flash’s interesting again. Demon/Catwoman is lacking.

Baker rips off Jurassic Park but Hawkman’s still wonderful.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 6 (12 August 2009)

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Let’s get started. Batman–Risso’s artwork is weak. It’s loose when it needs to be strong and vice versa. Fun Kamandi but Gibbons isn’t giving Sook enough room for the content. Superman’s the opposite. Too much room, too little content. Deadman’s mediocre, probably its worst strip (it’s a wee trite).

Green Lantern’s continuing to sink too. Busiek’s Hal is an unlikable narrator. Gaiman and Allred cheat on Metamorpho–half the page is a board game. It’s cute, but clearly there’s not much story.

Oh, Berganza’s Teen Titans. He gives Blue Beetle the internal monologue of the Taco Bell chihuahua. It’s offensive in addition to awful.

The Adam Strange is amazing. Bringing him back to Earth, Pope finds a great twist. The Supergirl’s weak (relying on Aquaman jokes). Metal Men’s good, Wonder Woman’s half-amazing, half-incomprehensible. Weak Rock, okay Flash, weak Demon, great Hawkman… Baker’s artwork is absolutely phenomenal here.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 5 (5 August 2009)

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Lame Batman, good Kamandi (Sook does a good Planet of the Apes), lame Superman (though Bermejo’s a little better), okay Deadman (one of the book’s steadiest strips), lame Green Lantern (after always being mediocre before)….

I’m trying something different since these comics usually provide so little to really talk about.

Metamorpho’s a little better, Teen Titans is a little worse. Great Adam Strange, just featuring Alanna. Pope gives her a nice strip to herself. And Supergirl’s turning into one of the better strips in the series overall. Palmiotti’s tone for it is perfect and Conner’s art is engaging. Another good Metal Men, another interesting and confusing Wonder Woman, another crappy Sgt. Rock. I wonder if Joe Kubert just wasn’t willing to draw very much.

The Flash is fine, ice art from Kerschl. The Demon and Catwoman is completely passable. Hawkman recovers too, great action page.

The quality’s plateaued.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 4 (29 July 2009)

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Baker gets awkwardly jokey on the Hawkman, which is otherwise all right. He’s got a great looking space battle involving the JLA satellite.

Speaking of art, Bermejo’s Superman is particularly awful this issue. He’s apparently incapable of drawing Ma Kent. He draws her for three or four panels, each worse than the last.

Metamorpho makes a slight recovery; at least Gaiman’s got actual panels and something of a narrative. It’s all a tease, but it’s better than it has been.

The most reliable strips are Pope’s Adam Strange, Bullock and Heuck’s Deadman (it’s never great, but always decent), Gibbons and Sook’s Kamandi and some others. Metal Men, by Didio and Garcia-Lopez, continues to impress. Didio really does fit in some good character dialogue, even with all the action.

Berganza and Galloway’s Teen Titans actually manages to be worse, which seems unimaginable.

The issue’s quality’s up. The strips are stabilizing.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 3 (22 July 2009)

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This issue has even less good strips than before. Sgt. Rock in particular falls off, with Joe Kubert’s art getting way too loose. Gaiman and Allred’s Metamorpho doesn’t recover either.

In other words, at issue three, Wednesday Comics is already downhill.

Azzarello and Risso’s Batman manages to be worse, as does Arcudi and Bermejo’s Superman. Kamadi by Gibbons and Sook, however, is awesome. It’s perfect as a comic strip.

Nice Adam Strange by Pope, nice Metal Men by Didio and Garcia-Lopez. Jimmy Palmiotti and Amanda Conner’s Supergirl is rather cute; being well-intentioned and competent compensates for its lack of ambition.

Sadly, Kerschl and Fletcher’s Flash falters. They concentrate on a dramatic cliffhanger instead of an amusing one.

Kyle Baker quizzically turns his Hawkman into an “aliens were behind 9/11” thing. I hope that theme doesn’t stick.

The issue’s tiresome. The standouts don’t make up for the failures.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorists, Jose Villarrubia and Lovern Kindzierski. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 2 (15 July 2009)

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So even some of the better ones from the previous issue are losers this week. Specifically Neil Gaiman and Mike Allred’s Metamorpho. They flop on the format.

Still strong are Pope’s Adam Strange, Baker’s Hawkman, Dan Didio and Jose Luís Garcia-Lopez’s Metal Men (no, really) and Catwoman by Walt Simonson and Brian Stelfreeze. Oh, and Kamandi by Dave Gibbons and Ryan Sook. The biggest surprise has got to be The Flash from Brendan Fletcher and Karl Kerschl. They split it between Iris and Barry and have a very unexpected, but fun, twist.

Deadman, from Vinton Heuck and Dave Bullock, is another nice one.

The lousy ones remain lousy (or worse). Azzarello and Risso’s Batman stinks; Risso’s art wastes the large size. Arcudi and Bermejo’s Superman is probably worse, just because it’s so poorly written. Berganza and Galloway’s Teen Titans has to be the worst one overall.

Another mixed bag.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 1 (8 July 2009)

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Wednesday Comics really needs a stronger editorial hand. While some of the creators get the concept, others completely fumble it. The successes (and the mediocrities) make up for the bad patches.

In the “no idea how to do the format” section, the issue has Brian Azzarello and Eduardo Risso on Batman, John Arcudi and Lee Bermejo on Superman (thumbs down to Bermejo’s interpretation too), Eddie Berganza and Sean Galloway on Teen Titans (Galloway’s art is atrocious) and the Kuberts on Sgt. Rock. At least the art’s good on Rock from Joe.

The best entries are–no shock–Paul Pope and Kyle Baker’s. Pope does Adam Strange, Baker Hawkman. They both gleefully approach the newspaper sized medium, pacing their entries differently–though most of the better stories don’t spend this page setting up a plot. The worst ones do.

The issue’s interesting, but barely half successful. There are some real stinkers.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

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