Unsolicited Opinions

The September '08 Solicits are out, which is odd, because I could have sworn that the December solicits just came out last month. Curse my temporally-displaced memory! Click the new little expanding posts link below to find out what I think, because you care so much.

TRINITY #14-17
Written by Kurt Busiek and Fabian Nicieza
Art by Mark Bagley & Art Thibert, Scott McDaniel & Andy Owens, Mike Norton, and Tom Derenick & Wayne Faucher
Covers by Jim Lee & Scott Williams
Superman, Batman and Wonder Woman lead the heroes of the DCU against the machinations of their malevolent counterparts, resulting in a cataclysmic event that will change the world – but not like anyone involved expects. Plus, Hawkman and Gangbuster make their move to rescue Tarot, and Konvikt breaks loose.
Issue #14 on sale September 3; issue #15 on sale September 10; issue #16 on sale September 17; issue #17 on sale September 24
32 pg, FC, $2.99 US

I seem to be one of few enjoying "Trinity" so far, and maybe it's because of things like this solicit: the return of Gangbuster? Busiek knows what I like. Also, I'm surprised to see Tarot making an appearance...does this mean that Chris Sims will be annotating it?

DC UNIVERSE: DECISIONS #1-2
Written by Judd Winick & Bill Willingham
Pencil art by Rick Leonardi
Covers by Stephane Roux
Election season is upon us, and the stakes have never been higher! An unknown villain is attempting to assassinate the presidential candidates, and only the heroes of the DCU stand in the way. As Green Lantern, Green Arrow, Superman, Batman and more try to learn the killer’s identity, they are faced with the difficult task of reconciling their own personal ideals with the mission at hand.
Brought to you by writers Judd Winick (GREEN ARROW/BLACK CANARY, TITANS) and Bill Willingham (FABLES, DAY OF VENGEANCE) and featuring sensational art by Rick Leonardi (ROBIN, SUPERGIRL)!
Issue #1 on sale September 10; issue #2 on sale September 24 • 1 and 2 of 4 32 pg, FC, $2.99 US

I don't think I've ever been less excited about a comic than I am about "DC Universe: Decisions." I have a feeling that it may be the most anvilicious, straw man-filled, poorly-conceived caricature of a comic ever. Given that Winick and Willingham's politics are basically caricatures of reasonable positions anyway, I have little doubt that this series will serve only to piss off absolutely everyone.

FINAL CRISIS #4
Written by Grant Morrison
Art by J.G. Jones and Carlos Pacheco
Covers by J.G. Jones
It's one month after the Anti-Life Equation was released worldwide. Millions now toil as slaves of Darkseid, while the Justifier shock troops of Apokolips lay waste to the planet Earth and hunt down its protectors.
The remaining free humans and superheroes are stationed around the world, besieged within the walls of ten very familiar 'Watchtowers', as they fight a desperate, losing battle against the triumphant forces of evil.
While Green Arrow and Black Canary attempt to deliver the secret of humanity's last hope across America's blasted wastelands, the Outsiders brave the horrors of the Bludhaven bunker in search of Batman. The ultimate battle is coming...but which heroes will become villain – and vice versa? And what part do the Secret Society have to play in the dawning of this new Age of Evil?
Darkness is falling and death rules the day. Is this truly the end of the Age of Super Heroes? Don't miss FINAL CRISIS #4: “How to Murder the Earth!”
Retailers please note: This issue will ship with two covers by J.G. Jones that will ship in approximately 50/50 ratio. Please see the Previews Order Form for more information.
On sale September 17 • 4 of 7 • 40 pg, FC, $3.99 US

So I hear that skipping the last 40 issues (or so) of "Countdown" and not actually finishing reading "Death of the New Gods" may have greatly enhanced my enjoyment of "Final Crisis" #1. In any case, I'm pretty psyched about the series, and this issue's solicit suggests that we may get the same kind of awesome dystopian storytelling that Morrison presented in "JLA: Rock of Ages." And that can only be good.

FINAL CRISIS: LEGION OF THREE WORLDS #2
Written by Geoff Johns
Art by George Pérez & Scott Koblish
Covers by George Pérez
Geoff Johns and George Perez continue crafting the Crisis of the 31st Century! As Superboy-Prime leads the Legion of Super-Villains against everything and everyone inspired by the legacy of Superman, the Legion of Super-Heroes are forced to call for help from beyond their world. Meanwhile, contingency plans are created by Brainiac 5 as he attempts to overcome Colu’s devastating betrayal, Dawnstar and Wildfire pull off a startling rescue, but at a horrible cost to the universe, and Saturn Girl uncovers the source of the Legion’s troubles.
Retailers please note: This issue will ship with two covers by George Pérez that will ship in approximately 50/50 ratio. Please see the Previews Order Form for more information.
On sale September 17 • 2 of 5 • 40 pg, FC, $3.99 US

"Legion of 3 Worlds" is the only Final Crisis tie-in series I'm really excited about. I think "Rogues' Revenge" will be good (even if only because it reunites Johns, Kolins, and the Flash), I'll begrudgingly buy "Requiem," I might read "Reign in Hell," and I'm curious about "Superman Beyond," but I'm chomping at the bit for "Legion." Johns' Legion arc in "Action Comics" was his best so far, and I love the Abnett/Lanning and Waid Legions to death; seeing them team up should be a blast.

But nothing can compare to my excitement over this:

AMBUSH BUG YEAR NONE #3
Written by Keith Giffen & Robert Loren Fleming
Art by Keith Giffen & Al Milgrom
Cover by Amanda Conner
Darkseid makes a list and checks it twice! Plus, a shotgun wedding, alternate universes, more OMACs than you can shake a stick at and the very important return of Super-Turtle all wait for you in this all-new, all-ridiculous third issue.
On sale September 24 • 3 of 6 • 32 pg, FC, $2.99 US

Ambush Bug is the definition of awesome. Ambush Bug, Amanda Conner, and the Inferior Five? This book may require a warning label to explain the side-effects of a fun overdose.

SECRET SIX #1
Written by Gail Simone
Art by Nicola Scott & Doug Hazlewood
Cover by Cliff Chiang
Because you demanded it! The Secret Six are back in an all-new ongoing series that promises to deliver some of the darkest, most twisted action-adventure the DC Universe has seen since...well, the last time the Secret Six got together! Writer extraordinaire Gail Simone (BIRDS OF PREY) is reunited with BIRDS penciller Nicola Scott to chronicle the adventures of the Six, and you will not believe what they have in store. Join Catman, Scandal, Deadshot, Ragdoll, and ?? as they prepare for an adventure that will take them through a gauntlet across the seediest parts of the DC Universe, and will ultimately pit them against a foe more monstrous and murderous than any they've had to face! Don't miss the beginning of the most ferocious and scandalous Six story yet!
On sale September 3 • 32 pg, FC, $2.99 US

Yay! This almost makes up for losing Gail on All-New Atom (and subsequently losing All-New Atom).

ADAM STRANGE SPECIAL #1
Written by Jim Starlin
Art by Rick Leonardi & Dan Green
Cover by Jim Starlin & Al Milgrom
A RANN/THANAGAR: HOLY WAR tie-in! After narrowly escaping a deadly blast, Adam Strange finds himself spiraling through the timestream, forced to relive the past and helpless to watch as his future unravels before his very eyes. Will he be able to pull himself together to rejoin the Holy War?
On sale September 3 • 40 pg, FC, $3.50 US

Dear DC,
There are writers besides Jim Starlin who can do space opera adventure stories. In fact, I daresay there are much better writers for that than Jim Starlin. Please make a note of it.
Sincerely,
Tom Foss

TEEN TITANS #63
Written by Sean McKeever
Art and cover by Eddy Barrows & Ruy Jose
Bombshell is back! But wait — isn't she dead?

My first thought upon reading this: "Who the hell is Bombshell?"

My second thought: "Isn't she on X-Force or something?"

My third thought: "Why am I still reading Teen Titans?"

SUPERMAN #680
Written by James Robinson
Art by Renato Guedes & José Wilson Magalháes
Cover by Alex Ross
“Atlas,” part 4! The grand finale of the Atlas epic finds Superman's foe seemingly victorious! With Superman down for the count, who can stand in the way of the city's supposed new ruler? Enter Krypto, (Super)man's best friend, who will do anything to protect his master. Don’t miss Krypto at his most heroic, a worthy addition to the Superman Family – and a very good boy. Plus: A new, magical character settles in Metropolis, just when Superman needs him most.
On sale September 24 • 32 pg, FC, $2.99 US

I can't wait for James Robinson's Superman to start, but this solicit got me thinking: is Kurt Busiek's Krypto-centric story ever going to get published? Because I'd really like to see that.

SUPERGIRL #33
Written by James Peaty
Art by Ron Randall
Cover by Stephane Roux
Coming off the most devastating decision of her young career, Supergirl finds herself at a crossroads. Is she worthy of the "S" she wears? Can she involve herself in the affairs of humans again after misusing her powers so badly? Enter the Empress (of YOUNG JUSTICE fame), who has a whole different perspective on the matter!
On sale September 3 • 32 pg, FC, $2.99 US

I'd complain about Supergirl getting another new writer, but I'm so incredibly happy about seeing Empress again that I can't bring myself to say anything bad.

THE BRAVE AND THE BOLD #17
Written by Marv Wolfman
Art and cover by Phil Winslade
Supergirl and Raven team up to save San Francisco from a new super villain with deep roots in the DC Universe!
On sale September 17 • 32 pg, FC, $2.99 US

You know, I like Marv Wolfman as much as the next guy, but I really hope he isn't permanently taking over "Brave and the Bold." If Waid can't do it, why not Karl Kesel? Dwayne McDuffie? Someone else with an encyclopedic knowledge of the DCU and the ability to write characters with distinct voices? As far as I can tell, Wolfman's only got one of those skills.

Also, that cover is hideous.

GREEN LANTERN #35
Written by Geoff Johns
Art by Ivan Reis & Oclair Albert
Cover by Ivan Reis
The conclusion to “Secret Origin”! The prelude to the Blackest Night begins as the climax of the story of Hal Jordan’s first adventure comes to a close! Hal and Sinestro are confronted by the Guardians over their greatest fears. Plus, Sinestro uncovers a new prophecy all his own as the stage is set for next month’s “Rage of the Red Lanterns”!
On sale September 24 • 32 pg, FC, $2.99 US

Oh, holy crap. You know, I thought "Secret Origin" was almost done at this point. I was kind of expecting it to wrap up in the next issue or two. I mean, it's not a bad story, I just can't bring myself to care about the latest retelling of Hal Jordan's origin. Yes, it's a great deal better than "Emerald Dawn," does it have to be twice as long too?

JUSTICE LEAGUE OF AMERICA #25
Written by Dwayne McDuffie
Art by Ed Benes
Cover by Ed Benes
Vixen and Animal Man journey into the sacred Tantu Totem to solve the mystery of their altered powers. But Anansi, the African spider god responsible for these changes, has only begun reshaping the powers and histories of the Justice League, as eight-year-old Bruce Wayne shoots the burglar who killed his parents, Wonder Woman retires from the JLA after the tragic death of her husband, Superman, and The Green Lantern Corps quarantines Earth after one of their number destroys an American city. With the team’s history changing before Vixen’s eyes, is the JLA we now know gone forever?
On sale September 17 • 48 pg, FC, $3.99 US

McDuffie has gotten the short end of every stick with this JLA run. Between the artist, Meltzer's loose threads, and half a dozen stupid crossover tie-ins, there's been very little opportunity for him to do anything interesting or original with the series. I'm glad to see him still trying, and this story looks pretty interesting, but I'd really like editorial to give him as much free reign as they gave Brad "six issues of table talk" Meltzer.

TINY TITANS #8
Written by Art Baltazar and Franco
Art and cover by Art Baltazar
School is in session at Sidekick City Elementary and it’s time for report cards and parent teacher conferences.
Plus, Beast Boy gets more than he bargained for with a trip to the local library and hilarity ensues at Blue Beetle’s birthday party with a case of mistaken identity and much, much more!
On sale September 17 • 32 pg, FC, $2.25 US

I love "Tiny Titans," and that cover gag is precisely why. Major props if this issue has Raven waiting in a pumpkin patch for the Great Trigon.

Also:


Hm...the Doctor Manhattan toy looks more like a Photoshop effect than an actual action figure. Is he unfinished, or just naked? I notice there's no new Minx titles slated for September; is it just a lull in the schedule?

Anyway, that's about it for DC. Looks to be a much better month than July. I'll hit Marvel up tomorrow.

Really? That's it?

Let me tell you a little story. Way back in 1999, I went to see a small independently-funded film that you might be familiar with: Star Wars Episode I: The Phantom Menace. I came out of that film with a pretty positive impression, which would change greatly as the years passed. But that's pretty much beside the point.

One of the subplots in the film involved Senator Palpatine, a man who curiously shared the surname and actor as Emperor Palpatine from the later films. Senator Palpatine's rise to power occurred as a mysterious and sinister cloaked Sith Lord named Darth Sidious--who also looked and sounded like the later Emperor--plotted with the Republic's enemies. On the surface, it was pretty clear that Palpatine and Sidious were the same person. There was a coy air of mystery hovering over the subplot, but both were played by the same actor, and we knew that Emperor Palpatine, who shared that distinctive surname, sure looked a lot like Darth Sidious. The connection seemed obvious.

So obvious, in fact, that I thought it was a trick. I was convinced leaving the theater and until shown otherwise, that the second film would contain a twist, that Senator Palpatine and Darth Sidious weren't the same character. Maybe the films would pick up an element from the various books, and the Senator would turn out to be the clone of Sidious, a puppet used to conduct public dealings. Maybe Sidious sought to assassinate and replace the Senator. But it was so obvious that the two were the same person that I was certain they wouldn't be.

As it turns out, I just gave George Lucas far too much credit. The coy air of mystery was an apparition, and the plot decided to stay close to the careful and obvious, refusing to give us any of the Empire-style plot twists that we'd come to expect from the franchise.

The same thing basically happened with Jeph Loeb's "Hush." Tommy Elliot was the only new character introduced in the story, besides the enigmatic villain. He was a plastic surgeon and the villain wore bandages. He was a childhood friend of Bruce Wayne's, and the killer was intimately aware of Bruce's secrets. Even when Tommy was apparently gunned down in an alley, it was incredibly obvious that he would turn out to be Hush, which is why I was so certain that he wouldn't. I'd read Loeb's other Batman mysteries, I'd read his other work, and the man knew how to do a twist, or so I thought. Instead, the plot followed on to the obvious conclusion that Tommy Elliot was indeed Hush, and thus the most boring character in Batman's rogues gallery since The Eraser.

Cue "Flash: The Fastest Man Alive" #13. That may have been the single most telegraphed death in the history of comics. I mean, honestly, "Superman" #75 had a gravestone on the cover, and yet you still couldn't be sure if they'd really kill him until you unfolded that last gatefold page. This Flash issue was begging for a twist at the end, and yet despite all the talk about changing the future, despite all the openings and options for someone else to make the big sacrifice, they decided to end it with the titular character being beaten to death. Maybe I just give writers too much credit, but when you've got a story like this issue, it seems like the logical progression would be to tease the audience with the obvious death, then tear the rug out from under them, simultaneously entertaining them and giving them an upbeat, hopeful ending. But what do I know, they don't pay me to write.

I can understand this ending, though. It was almost necessary. Bart Allen was a broken character, and had been ever since he came out of Infinite Crisis. Just take a look at his backstory: the grandson of Silver Age Flash Barry Allen in the 30th Century is raised in a simulated world due to his hyperaccelerated metabolism, and is brought back in time by his grandmother to be cured of his condition and to learn responsibility from her nephew, Wally West. Bart is taken under the wing of Max Mercury and develops into a competent-but-brash, happy-go-lucky teen hero, who eventually is forced to contemplate his own mortality, and to grow up fairly rapidly after a battle with Deathstroke. He wears the mantle of Kid Flash for some time, then helps drive Superboy-Prime into the Speed Force, where he spends four years (sort of) in another dimension (I guess) and comes back as a 16-year-old in a 20-year-old's body, wearing Barry's costume, with the Speed Force threatening to destroy him from the inside out.

He returned from Infinite Crisis with several gimmicks too many, and it was clear that the writers didn't know what to do with them. First, it was clear that they didn't know what to make of their change to the Speed Force status quo; they eliminated the dangers caused by using it fairly early on. Second, mucking about with his age had left him with a basically unwritable personality. An immature-but-intelligent 16-year-old in the body of a 20-year-old? The best course of action would seem to have him be awkward, emotionally stunted, and immature; instead they moved him away from mentor figures, had him living on his own, gave him an adult girlfriend, and put him in a position in the police academy, all things which served to give the impression of age and maturity. That wouldn't be necessarily so bad if they had crafted a clear personality for him. Somehow, this Bart was neither the impulsive, ADD-afflicted, goofy character he was in his youth, nor the more introverted, speculative, emotionally distant character he became in Teen Titans, but a competent, experienced hero trying to juggle work, a social life, and superheroics in a world where all three kept colliding, while also trying to fill Barry Allen's shoes.

If that sounds familiar, it's because we've run that track before, after the last big Crisis. Having stripped Bart of the personality traits and supporting cast that made him distinctive, the only way you'd be able to tell him apart from Wally was the hair color. And the repeated references to him being "a 16-year-old in an adult body," despite the fact that he never acted or thought like a teenager. In another stunning case of telling, not showing, in the Mighty Marvel Manner, we had other characters dictate to us what we should have been able to tell from thought captions, dialogue, and actions. That's just sloppy.

Bart, quite simply, has been lost since Infinite Crisis, in a sea of discarded or largely ignored plot points, unexplored cast and status changes, and wasted potential. I'm not sure, given where they left off after the Crisis, that this could have been an interesting book. The "young hero trying to fill his predecessor's shoes" motif has been done to death in the Flash comics, and has been done better than this recently in books like Firestorm and, to a lesser extent, Blue Beetle. The "hero with powers that are a danger to himself" angle has also been tread in the Flash storyline, and was rapidly forgotten in this new relaunch. The "hero training to be a cop" arc was done better in Nightwing, and this book didn't seem too concerned with exploring that aspect of the character. The "hero who is younger than he looks" was a staple of the Superboy comics for awhile, but had some potential; unfortunately, Bart acted and sounded more like he was a 35-year-old trapped in a 20-year-old's body. With de-aging pretty much out of the question, they didn't have much choice but to kill him off.

And how about the ending to JLofA #10? They didn't give Wally a funeral, because they "knew he'd make it." Guess it sucks to be Bart; the other heroes apparently had no such faith in his recuperative abilities. It's not as though being bludgeoned to death is the hindrance it used to be; just ask Jason Todd.

So, in the end, I'm fairly happy that Bart got a nice clean break and that the Speed Force was released. I wish Bart could have gone out in a blaze of glory, rather than in the midst of a one-sided battle. I'm very happy that Wally and his family returned (even though the twins being older means that my dream arc, seeing Wally try to balance superheroics with being a stay-at-home dad, will probably not come to pass). I'm not happy that Editorial has shifted its sights away from the Giffen-era JLU and has moved on to killing off Young Justice. Slobo was the first to go (and was dissed by Didio, saying that Lobo wasn't supposed to be a joke, or something), then Kon, now Bart. Aside from Robin and Wonder Girl, the rest of the characters have been consigned to comics limbo. When's the last time the Ray or Snapper Carr showed up? I know Empress has appeared something like twice since the end of the series, and once was miscolored.

Naturally, whether the writers at DC know it, they've left a back door open to bring back Bart. He didn't use the ability much after "Our Worlds At War," but Bart had the power to create avatars of himself; energy clones that he could send through time and reabsorb. Kind of a Negative Man-meets-Jamie Madrox ability. One of these scouts shows up in our time, having been lost in the timestream. Some event (Bart's death, releasing the Speed Force, bringing back Wally, etc.) solidified the avatar, made him essentially a physical copy of Bart, and shocked him back to this time period. Naturally, he'd have no memorty of the events of Crisis; depending on when the avatar was retroactively created, they could wind the clock back to Teen Titans' Kid Flash, or to the days when he was Impulse. I think the latter would present some interesting conflicts and stories; now, suddenly, Bart is significantly younger than his friends, and hasn't gone through many of the difficult, character-defining moments that they have. He'll have to be informed about Conner's death, the Crisis, and the subsequent events, including his own untimely demise. Meanwhile, Tim and Cassie will be forced to deal with the fact that Bart has returned, while Conner remains dead, and will be sadly reminded of the happier times before their lives turned morose and crappy. Naturally, Impulse would join the Teen Titans, though he'd constantly be trying to turn it back into Young Justice; I imagine he'd form a quick rapport with similarly-cheery Miss Martian, and the group would begin to clique along age lines.

But that's a story for another day. Unlike Jay, apparently, I don't expect Bart Allen to stay dead for any length of time, not when there's a backdoor like that to be exploited. For now, though, I mourn. Bart Allen, Impulse, Kid Flash, Flash: we hardly knew ye.

Keep running!