Superman Unchained #1
The Leap
Writer: Scott Snyder
Artists: Jim Lee, Scott Williams
Colorists: Alex Sinclair
Letterer: Sal Cipriano
24 pages, $4.99
Look! Up in the Sky! It’s a Bird… It’s a Plane… It’s another DC New 52 Piece of Shit!
I promise you, that’s exactly how I feel about Superman Unchained #1… And I didn’t write the above just so I could have some fun writing a nasty Pull Quote. As I tap out this review, Nikki Finke (via Deadline) is projecting an awesome $197 Million Worldwide 4-day gross for the Man of Steel film– with over $125 Million of that being a fantastic US Domestic Box Office result. To put this into perspective, Bryan Singer’s 2006 Superman Returns’ total US Gross tapped out at a smidge over $200 Million– with a final Worldwide total of $391 Million. (Also further weighing against Singer’s “failure” of a film, Superman Returns‘ budget was a reported super-bloated $270 Million verses director Zack Snyder’s Man of Steel at $225 Million.)
So Man of Steel is a hit. Hoo-hah. Good for them. And DC released the Scott Snyder written, Jim Lee drawn Superman Unchained to take advantage of all the hoopla. Now I don’t know about the film (probably going to go Monday or Tuesday) but I do know about the comic– and man, did I not like it. To be clear, I didn’t despise it either… I just read it, looked up and thought, “Ho Hum.” Now I don’t know about you, but I’d rather somebody either hated my work or loved it– than to sit staring at the ceiling, damning it with faint praise and quintessential indifference.
So you know, I’m going to pass around the Blame Stick fairly evenly here. I disliked Snyder’s script as much as I was underwhelmed by Lee’s art. The story jerked and sputtered all through the comic– as if Lee overrode Snyder’s scripted art directions (I assume you can still give Lee art directions in a script?) so he could draw some awesome splash pages… Which then necessitated other pages to be overly panel heavy and so jam-packed with dialogue that large parts of Lee’s art was demolished by word balloons. Which, you know, was okay in a way… Since it was seemingly obvious Lee spent about a third of the time drawing the panel heavy pages as he did penciling the double and single splash pages.
I get the whole splash page craze– at least for Superman Unchained #1. Released almost day and date with the new movie, Snyder and Lee were competing with a mega-million budgeted blockbuster… So I’m sure the need to make the comic seem as cool as the movie was embedded deep in their brains. Doesn’t make it any less sad– probably just a fact. (They even wait to put all the creator credits on the last page splash of the comic, just like all the cool movie makers do.)
Let’s put it this way: If Jim Lee still has a desire to draw great comics– he didn’t do it here… And if Scott Snyder was attempting to write a fantastic Superman story, he failed miserably.
What. The. Fuck.
Just as irritating as the creator deficiencies: For some reason, the Comixology app was so intent on giving its (challenged) readers a shot at seeing every inch of every cross-hatched line in Lee’s art and every dialogue thought box Snyder could type– the company DIVIDED one splash page into TWO DIFFERENT PAGES (Page 5– featuring the long shot of Superman busting through a falling space station)… Then divided the heavily-dialogued Superman-centric pages 6 and 7 (at least a I think it is a two-page splash) into FOUR DIFFERENT PAGES. (They also then included the full pages after breaking them into unwanted bits.) All of this became really confusing and further decimated the story.
I don’t know who advocated this approach… Or if it was done out of some sense of practicality for the digital readers or to appeal to the vanity of the creators… But whoever said this was a good idea should be taken to the Comixology site, shown what I had to wade through– and then be summarily shot and thrown out of one of DC Comics’ high-rise office windows. (And no, I don’t mean literally shot and thrown out a window… Just fired.) For shits & giggles, I’ve included the chopped up part of Page 7 featuring Superman’s undercarriage– just so you can share in my nightmarish feeling of participating in a super-proctology exam.
With Gillette spending millions to ask the question, “How Does The Man of Steel Shave?” I’m left wondering who has the power to get past Clark Kent’s super-sphincter to check his super prostate? No thanks. DC then tacks a four page interview with Snyder and Lee onto the back of the book (you know, the kind of content comic readers used to get for free)– and charged me $4.99 for the whole debacle.
Oh God… Someone please shoot me. – Ian MacMillan
Superman Unchained #1
The Leap
Writer: Scott Snyder
Artists: Jim Lee, Scott Williams
Colorists: Alex Sinclair
Letterer: Sal Cipriano
24 pages, $4.99
Over the last few years, many have complained Superman (as a character) is just not relatable. I would argue he isn’t easily relatable to any human. I believe Supes is meant to inspire– to allow us all the chance to dream of the kind of hero we aspire to be. That said, many Superman comic books have tried to make him more human as of late… And they have mostly missed their mark. Unfortunately, the same can be said for Superman Unchained #1.
The comic’s opening pages reference the classic phrase, “It’s a bird, it’s a plane, It’s…” before comics scribe Scott Snyder once again creates past moments for a character no reader has previously seen before. This seems to be a major characteristic of Snyder’s writing now– and one that’s sadly worn thin with me… Mainly because these new backstory snippets rarely feel genuine now. (If you’ve already read Snyder’s amazing Batman Black Mirror run in Detective Comics, you know what I mean when I say I feel like I’ve been here before.)
Another problem I have– Superman Unchained feels like just another run of the mill superhero story. There isn’t any substance to take away from it. The opening pages are of the “Boy Scout Saving The Day” variety– as some innocent civilians are put at risk because of an unknown person/thing that has caused a series of globe-threatening events. The rest of the book sings the same familiar monotone tune: After Superman saves the day (of course), he confronts Lex Luthor to assess the criminal mastermind’s involvement. When that meeting produces the usual predictable results, we get some quippy back and forth between Lois, Clark and Jimmy. A couple of pages later, we’re exposed to a secret government cover-up leading to a very lackluster cliffhanger.
Is there a specific outline writers have to follow when writing a Superman adventure? Superman Unchained #1 definitely feels like Snyder is running his script through some random template he found online. Still, forgetting the terrible cliff-hanger, Snyder does do the “same Superman story” better than most everyone else currently. It’s cool to read Superman’s running thoughts as the action unfolds. Simple things like the Man of Steel reminding himself to talk to some astronauts in order to keep their fears at bay add a nice extra touch to a generic story. Snyder also showcases some of Supes’ powers in a unique way. With his plethora of powers, it’s a great change of pace to see Superman do something other than fly– or only use his super strength and heat vision.
Okay… That’s it for the niceties. I tried to be as diplomatic as possible, but it just doesn’t work for this review anymore… And I really need to talk about a major plot point. (Not to worry– there will be a spoiler warning.)
Hey DC! The 90s called and they want their stories, shitty art, and stupid marketing gimmicks back. Superman Unchained #1 is the epitome of 90s comics at their worst. If this issue had one of those foil covers and an opaque polybag– this pamphlet would have it all.
The overabundance of cross hatching in Jim Lee’s art completely takes me out of the story. I know this is his “style,” but it seems heavier than usual. Maybe I’m just not a fan of Jim Lee’s art, but there were multiple times his work reminded of the crap 90s. The new character (at the end of the book) looks like he jumped from the pages of Spawn– dark, gritty, yet kind of glowing… Not a character design I would have been overjoyed to see if I was Scott Snyder. (But what’s he gonna say to one of the top executives at the company?) I also cannot stand the use of that damnable blurring special effect appearing in many of today’s comics. It’s really jarring to see panels which have clearly been run through Photoshop. I always thought the artist was supposed to draw– not let a lame filter on a computer program do the work for him.
(Spoiler Warning!)
Will the real Superman please stand up?
The cliffhanger states the true Superman has been around for 75 years. Um… DC please tell me this is your way of hinting you’re going to get rid of the New 52 continuity. (Unfortunately, I seriously doubt that’s what’s going on here.) With the revelation there is a second Superman, we are hit– yet again– with another plot point ripped from the 90s. Did Snyder/DC just forget about The Death (and Return) of Superman… Or even worse: Spider-Man’s Clone Saga? We don’t need another, “Who is the real superhero?” story. We need something fresh from the supposed top talents at DC.
Maybe some of you can explain the confusing New 52 continuity to me, but I have a problem with super powered creatures existing before the likes of the Justice League. Sure, this supposed “original” Superman could have been kept a secret… But then why were other government officials shocked to learn there are other people with super abilities? Somebody seriously dropped the ball with this idea. There is definitely something missing– and here’s hoping (at the very least) there’s at least some half-baked explanation down the road. (End Spoiler Warning!)
Here’s what’s really disappointing about Superman Unchained #1: Scott Snyder obviously understands HOW to write Superman– but whatever message he intended is lost within the confines of his pedestrian story. Underneath all the terrible stuff, there is the smallest nugget of potential. So much for a so-called ground breaking first issue. – Nick Furi
Thumbprint #1 (of 3)
Writers: Jason Ciaramella, Joe Hill
Artist: Vic Malhotra
$3.99, 24 pages
Being a member (either former or current) of the military has a number of effects on you as a person– both good and bad.
Under the category of minor irritations for me personally is the inability to watch a military-themed Movie or TV Show without nitpicking the shit out of it for inaccuracies… In both how the weapons are used or how the people involved behave themselves. It’s not like I can’t watch a movie with silly mistakes in them. I usually take the errors in stride or give a sly grin as acknowledgement to some of the laziness involved. It’s this same somewhat skeptical attitude that also allows me to appreciate a well done military movie or book when one does come along.
Thumbprint #1, the latest comic from Joe Hill, made me both appreciate the attention to detail when it came to soldiers– and managed to piss me off at the same time. On the surface, the comic is a mystery/thriller dealing with Mallory Grennan, a former solider who committed war crimes while serving in Iraq (crimes she has so far managed to escape punishment for.) Mystery comes in the form of someone who has followed Mallory back to her hometown– and is now leaving not so subtle messages for her, letting her know her past might be catching up with her. For me, this mystery is almost secondary to the fascinating portrayal of the story’s main character.
Mallory is not a likable character. She regrets the things she has done, but not so much that she’s willing to confess or atone for what she did. She also doesn’t seemed to have learned from her past mistakes. After narrowly avoiding being caught in Iraq, she still passively follows along with the local town asshole as he commits a crime… And only resists him when he turns his attentions towards assaulting her.
Mallory is the perfect example of the passive aggressive lackey, more than willing to go with the flow and do terrible things as long as everyone else seems to be in agreement. I have to give writers Jason Ciaramella and Joe Hill credit– as they’ve managed to create a character who really raises my blood pressure. Yes, I know Mallory is a fictional character in a comic book, but I knew soldiers like her when I served in the US Army. Trust me, they exist. I didn’t like them then, and I found myself grinding my teeth as I read this comic.
There are always bad people in any military… People who are going to do bad things. But these people should be weeded out and thrown in jail quickly by their fellows soldiers (who know better.) Shit like Abu Ghraib happens because of people like Mallory– who are willing to go with the flow in the face of all common sense and decency.
I know I’m heading off into the weeds here a bit… There is a mystery in this story and I’m kind of blowing past it to focus the background stuff. But if this story has a weak spot, it’s there really isn’t any real suspects (yet) for the mystery person who’s sending the messages to Mallory. The only character who comes close to being a possible suspect is the town asshole– but he is so obvious, he should have the words “red herring” printed on his T-Shirt.
I was pretty pissed off by the time I finished this comic, and my head might explode by the time the series concludes. But I’m going to read them all… Because sometimes you need to remind yourself things like Abu Ghraib only happen when people don’t get angry and just follow along. – Mark O’Brien
Green Lantern Corps #21
Writers: Van Jensen, Robert Venditti
Artist: Bernard Chang
Colorist: Marcelo Maiolo
Letterer: Dave Sharpe
20 pages, $2.99
Really not trying to beat a dead horse here, but after reading Green Lantern Corps #21, I’ve discovered a new reason to really dislike DC Comics. Not because the story is bad (it isn’t great either), I’m very upset because I spent my money based on the comic’s published solicitation— and I did not get what was promised. This is the solicitation I received:
It’s nonstop action as the Green Lantern Corps faces attacks on Oa and Earth…and Guy Gardner is presented with a choice that could change the balance of power between the different Lantern Corps forever!
The solicitation also notes Joshua Hale Fialkov is the writer. Now here’s the thing– both the story description and the writer announcement are false… And we all know BOTH could have been easily fixed. DC, you must know there’s a thing called the internet, since you have a website on it. Would it have been too much trouble to make these changes once it was clear which story was sent to the printer? I think not. There is no excuse for an erroneous website solicitation in today’s world. (Ed. Note: We’ve featured the corrected Green Lantern #21 cover at the top of this review… But we had to find it via Google.)
Making matters worse, Guy Gardner– my favourite Green Lantern— is not in one single page of Green Lantern Corps #21. To add further insult, the cover posted on DC’s site clearly shows Guy on the cover. Instead, I’m left with John Stewart– my second favourite Lantern. I have absolutely nothing against Stewart, but when I’m promised Gardner and don’t receive him… Well, that pisses me right the fuck off.
Incorrect Green Lantern Corps #21 Solicitation– Still On DC’s Website as of 3:57pm PST 6.16.13
The sting of DC’s bat and switch is heightened because the story that does appear is less than average. Green Lantern Corps #21 is obviously a “fill-in” story– one of those tales that gets plugged into a series because the planned story is behind schedule. Nothing overtly interesting happens within its pages… As nothing really happens at all. The worst part about this story are the new Lantern recruits. We have no prior knowledge of who they are– and this massive lack of information does not allow the reader to care for them one iota.
Here’s another HUGE problem I have with Issue #21: One of the new recruits is a gladiator who likes to kill other living beings. At one point Jruk shouts, “There are more to kill!” (His frustration comes from his Lantern ring forcing him back to Oa before he has a chance to kill more of his combatants.) I don’t care if he does have the ability to overcome great fear– the Corps has never been about accepting killers into their ranks. (At one point John Stewart asks, “Didn’t Green Lanterns used to be the good guys?” I asked the same question.) I guess this is a new direction DC wants to venture into– and it sucks on many levels.
The artistic team of Bernard Chang and Marcelo Maiolo are the comic’s only (minor) saving grace. The art has an animated feel to it– even if Chang doesn’t try to do too much with his pencils/inks. The colours are bright too. It all reminds me of DC’s new direct to home video animated movies… Which is a huge compliment as these movies are usually beautiful. The art definitely has that “Green Lantern” feel.
Besides some decent art moments, Green Lantern Corps #21 is not worth reading… And DC, I want my money back for you baiting me with the wrong solicitation!
– Nick Furi
The Dream Merchant #2
Writer: Nathan Edmondson
Artist: Konstantin Novosadov
Letterer: Jeff Powell
22 pages, $3.50
I really enjoyed the mini-series Who is Jake Ellis? Conversely, I picked up the second series, Where is Jake Ellis?— and I couldn’t make it past the second page. But since I am challenging myself by buying lots of different books, I decided to read The Dream Merchant #1. Honestly, I was kind of dreading it… But to my surprise, it was pretty great. Playing with the idea of dreams and the ability to control them is something I have thought of on numerous occasions. The Dream Merchant #2 was good too, but it changed the story’s focus– causing it to lose some of its appeal.
Nathan Edmondson’s obvious strength is the ability to create a good mystery… But he can also make his plots too complex and difficult to understand (See Where is Jake Ellis?). The cool thing with DM #2– Edmondson is already providing answers, which is a drastic difference (and nice change of pace) from his other comics. Now I’m really curious to see how much story remains, as the information given in this chapter seems almost like a penultimate chapter reveal. I’m really hoping this info dump means Edmondson has ample amounts of story still left to tell. If that’s the case, I expect Dream Merchant to be an above average series. Other plot points further show the writer’s range– I thought this series was going to be another mystery, but it has a fantasy adventure tone instead.
Konstantin Novosadov’s art leaves me with a very mixed feeling… Even if his minimalistic style suits the kind of adventure the two creators are attempting to tell. That said, there are a few panels where main character Winslow’s face looks inconsistent. The basic features are there– and you can clearly tell it is him– but his face suddenly appears elongated. Besides these little missteps, almost everything within the pages of this monthly is great. The art’s cartoonish vibe matches the story’s tone– something that goes along way when done correctly.
Because I enjoyed the first issue immensely, I was not expecting the slight change in the story direction DM #2 takes. I feel odd complaining about this because the story is progressing (especially since I usually complain about stagnant plots.) Still, the new course The Dream Merchant #2 takes is not overly original… The best way I can describe it would be this: An Alien Takeover meets A Nightmare on Elm Street. While this premise may sound awesome, I was slightly disappointed with some of the plot reveals in Issue #2.
I’m willing to keep going along for the ride one issue at a time… But if the comic starts to falter, I will drop it and not look back. Here’s hoping it can keep the pace it’s set for the duration of the run. If it does, The Dream Merchant should be a fun ride. – Nick Furi
Suicide Squad #21
Writer: Ales Kot
Artist: Patrick Zircher
Colorist: Jason Keith
Letterer: Jared K. Fletcher
20 pages, $2.99
Ever get that feeling that you want to like something but you just can’t? That’s the feeling I’m having at the moment and the reason for that is… While Suicide Squad #21 is a decent enough read, it doesn’t fulfill the expectations I had of it based on the talent involved– particularly the writer. Ales Kot’s 2012 Wild Children one shot (with art by Riley Rossmo) was pretty amazing, and I was expecting some of the bizarreness and insanity of that story to manifest itself in Suicide Squad… But it just didn’t.
This is a fairly straight-forward tale that seeks to establish a new status quo within the squad. Harley Quinn escapes from her cell at the Squad’s HQ and captures Amanda Waller. Deadshot also escapes and rampages around the HQ until a mysterious stranger comes along to save the day. It was all rather ho-hum and disappointing with a big helping of “Is that it?” on the side. There just isn’t a great deal here to differentiate Suicide Squad #21 from any other generic New 52 pamphlet… Which leads me to wonder just how much of this story was Kot’s idea and how much of it came from DC Editorial.
I’m getting the feeling DC is just exploiting the names of hot young Indie comic book writers– while not actually letting them go so they can tell the stories they want to tell. It wouldn’t surprise me one bit if within the next 6 months we get an article in some gossip-mongering website detailing how Kot is unhappy with DC’s editorial tinkering and is out of there (like so many of his predecessors.) Still, I guess the paycheck and the free health insurance is worth at least some of the inevitable hassle that goes with being a corporate drone.
The art by Patrick Zircher is serviceable, if not exactly inspired. The story is told well enough but it’s all a bit dull and plodding. He does try the old trick of switching from regular square panels to “edgy” diagonal ones in the action scenes to try to inject some sense of pacing– but it is all too obvious and not particularly enlivening. He also does that old Deodato trick (that the artist used in Bendis’ talky Avengers scenes), where he photoshops the same panel and copy and pastes it a number of times on the same page– instead of bothering to actually draw new panels. That’s kind of lazy and a form of artistic cheating but I suppose he can’t be blamed for taking such a shortcut with a boring scene.
Oh, am I the only one still annoyed by the changes to Amanda Waller’s appearance– and more importantly her character? DC seems to have destroyed a really strong female non-superpowered character– all for the sake of making her look a bit like Halle Berry.
The colors by Jason Keith are pretty good for a New 52 book, meaning they’re not as good looking as the colors found in a Marvel or Image comic– but are at least reasonably tolerable and not injurious to the optic nerve.
If you are already a Suicide Squad fan then this is an “OK” comic book. You shouldn’t hate it and it may even show some promise for a better future… But if you are just a casual fan then there isn’t much here to make you grab the book and shout “Fuck Yeah!” That’s why it’s getting a median rating from me.
– Locusmortis
