Title: Hellboy: The Seed of Destruction
Publisher/Year: Dark Horse, 2003
Artist: Mike Mignola
Writer: John Byrne, Mike Mignola
Collects: Hellboy: The Seed of Destruction #1-4, San Diego Comic-Con Comics #2, Comics Buyers Guide
Hellboy is, of course, a red skinned, cloven hooved demon...who was raised by humans, and so, as an illustration of nurture over nature, appearance and super strength aside, is actually just a regular joe who investigates the paranormal as an agent of the Bureau of Paranormal Research and Defense.
Seed of Destruction collects the first Hellboy story arc (as well as a couple of even earlier short pieces that were published as promos for the new property). In it we learn of Hellboy's genesis in the waning days of World War II, then cut to modern times as the now adult Hellboy investigates the murder of his mentor, which leads him to the cursed Cavendish family on a forlorn peninsula of the American coast, and a showdown with an evil that ties into his origins.
Creator Mike Mignola was already receiving good notice for his art, but with Hellboy he arguably cranks it up a whole other notch, and it was his first major project as storyteller, not just a drawer of someone else's story. Mignola was presumably a bit insecure about that, because for this first arc, he brought veteran John Byrne on board to actually write the dialogue (Mignola would subsequently fly solo). What's interesting is that you can't necessarily detect Byrne's influence. I don't mean that as either good, or bad. I just mean you don't read this and detect much sense of Byrne's style, or much difference from this and the later Hellboy stories Mignola wrote on his own. Well, except there may be fewer of the trademark dry quips the series would later employ. But that may simply be because, as the first story, they wanted to establish a serious tone. After all, a red skinned demon investigating monsters could so easily slide into self parody that it was probably important to establish the serious tone before letting its hair down -- in much the same way that TV's The X-Files worked hard to establish a serious tone at first.
And the X-Files was, no doubt, very much in Mignola's thoughts doing Hellboy, being as both are about paranormal investigations, with a lot of deadpan talking heads and expository scenes as if ghosts and demons are no stranger than a burglary.
Visually, the story is richly rendered with lots of dark, brooding shadows, and landscapes that manage to be both minimalist and yet hauntingly evocative. The panels reek of atmosphere, so that you can fairly hear wind whistling spookily in the distance. Mignola's style is at once craggy and even cartoony...yet oddly realistic, suiting a story that tries to make the unbelievable seem almost commonplace, where as veteran investigators, Hellboy and his comrades, Liz Sherman and Abe Sapien, have seen it all before, occasionally dropping cryptic references to past investigations. The colors beautifully complement the drawings, being both sombre and brooding -- yet not oppressively so. While Hellboy himself stands out on the page, a blazing red beacon of hope.
Yet for all the genuine mood and unsettledness, this is generally a clean, fun horror. People die, and dark things are afoot, but this isn't some nihilistic, grisly horror comic that can leave a bad taste in your mouth ala Hellblazer.
The story is paced out well, managing to mix a slow building, creeping spookiness with some bombastic action scenes as Hellboy proves that when it comes to battling monsters, he can give as good as he gets. The story manages to tease us along, not playing all its cards at once, so there can be bizarre happenings, and cryptic comments, that only make sense in a later context. Because this is the opening story in what is, after all, a series (albeit an irregular series, told not in an on going comic, but in various mini-series and one-shots), it ends with some threads left dangling, including a final epilogue meant to hint at things to come. Yet with that being said, it does tell a story with a beginning, middle and end, and one that ties back into Hellboy's origin, making it satisfying as a story to be read for itself.
There can be a tad superficiality at times, the scenes maybe trying too hard to evoke a kind of deadpan cool. The catalyst for the investigation is the murder of Hellboy's mentor, Trevor Bruttenholm (pronounced "Broom"), yet Hellboy never quite gets that worked up over the death of a man he regarded as a father figure. And his relationship with Liz Sherman is strictly platonic.
Which brings us to reflecting on the comparison to the original motion picture. This trade was subsequently marketed as having inspired the motion picture. I was a bit skeptical of that when I saw the movie (having forgotten this plot), but re-reading it, I can see that the movie both followed it...and diverged from it (indeed, the movie, where it stays faithful to the comics, actually borrows from both this, and the next mini-series, Wake the Devil -- as well as lifting scenes from other Hellboy stories).
Both this and the movie detail a similar WW II origin for Hellboy, and both have the main plot climaxing with a modern day attempt to summon an apocalypse by the instigator of that war time incident. Yet in the details it's interesting how both versions are better -- and lesser -- than each other. The movie cranks up the emotion/human factor, giving arguably more character to Hellboy, establishing a romantic tension between him and Liz, and giving more weight to his relationship with Bruttenholm. Arguably rendering the movie more sophisticated, more adult, than the comic. At the same time, the movie Hellboy was an embittered outsider, his very existence kept secret from the outside world. Yet there's something almost more intriguing, and endearing, about the comic book Hellboy...whose a much more level-headed, easy going guy -- and one whose existence isn't a secret. There's something wonderfully weird -- both comic booky yet eminently human-- about the cigar smoking, trenchcoat wearing Hellboy casually interrogating witnesses as if there's nothing odd about a seven foot tall red demon dropping by for tea.
And in concept, in style, the comics are arguably more ambitious, or at least, more literary. The movie was very much a Hollywood movie, chock full of bombastic action scenes, chases through city streets, big budget fights on subways, where the Bureau of Paranormal Research and Defense is a hi-tech, James Bond-y style organization -- much of it taking place in New York city. But Mignola's influences are clearly more literary and traditional than that, the Hellboy comics rooted in a gothic milieu of cursed family trees, deserted castles, and ancestral homes crumbling, generation by generation, into the sea. In fact, I'm not sure a Hellboy story comes to mind that ever took place in a big city! Mignola is drawing upon a literary provenance of Edgar Allan Poe, Lovecraftian lore and ancient fairy tales (some later Hellboy stories were, literally, reinterpretations of old folk legends). He also captures the essence of such tales with a story where we're not sure if we'll ever understand all that occurred -- while explaining enough that it doesn't feel like he was just too lazy to come up with a logical plot. At one point, a ghostly figure intercedes in the events, and Hellboy remarks they might never know why the apparition acted as it did...but that doesn't stop them from at least positing an explanation (unlike some comics that come to mind where the writer will toss in a convenient solution, then simply have the characters shrug it off with no explanation whatsoever).
Of course, the down side to traditionalism is there can be elements of cliche, such as the chief villain being the resurrection of the real life Russian monk, Rasputin -- a guy who has been conjured up as the villain in a zillion supernatural tinged stories over the years. (And, honestly, given all the real life monsters and creeps and serial killers throughout history, how did Rasputin get typecast as the ultimate evil?)
The movie was a big -- and yes, enjoyable -- Hollywood summer action flick. But Seed of Destruction is, arguably, a more stylistically ambitious tale, going as much for a low-key eeriness as often as it is super hero hijinx -- and there is a super hero flavor, of course, with Hellboy a decidedly more formidable protagonist than Mulder and Scully ever were, as if The Fantastic Four's Ben Grimm moonlighted as a ghost buster (Mignola's style even slightly evocative of Jack Kirby). But the comics have a spookiness the movie didn't.
As the opening arc in the Hellboy saga, Seed of Destruction is effectively sure footed -- even if those feet have hooves!
Sunday, August 17, 2014
Sunday, August 10, 2014
Publisher/Year: DC, 2012
Artist: Greg Capullo
Writer: Scott Snyder
Collects: Batman #1-7
Batman: The Court of Owls is a deconstruction of Batman and Bruce Wayne’s vision of Gotham City. The DC Relaunch provided a landscape in which writers and artists had a way to completely recreate characters and the DC Universe as a whole into their vision. Scott Snyder doesn’t exactly do this. The Court of Owls works as both a perfect starting place for new readers to comics as well as experienced readers who have kept up through the Grant Morrison saga and Snyder’s work on Detective Comics. Characters created and explored during that time period are even featured in the opening pages of this book, so it’s not a title that completely ignores its past, which, whether on purpose or not, parallels the concept of this book. And this book is quite simply a masterpiece.
In Court of Owls, Scott Snyder tells a story of how the past of Gotham City, a past unbeknownst to The Batman, has come to haunt The Dark Knight in a way that no one, other than Snyder, could have ever imagined.
Batman has come back to the cape and cowl after being thrown through the time stream in Return of Bruce Wayne and recent excursions across the globe with Batman Incorporated, and has made his triumphant return to Gotham City. With the brighter, more positive attitude that accompanied recent events, Bruce Wayne and Batman look to the future as a way of turning away from the shroud of darkness that has been covering his city for so long, a future that expands and grows the city to new levels. Unfortunately for The Batman, things aren’t as easy as he would have hoped when he discovers that the oft-whispered name of The Owls comes to be more of a reality than an urban legend, and they are after Bruce Wayne.
Scott Snyder is one of the handful of writers who truly knows Batman. He’s in love with the character, and you can completely tell that this is a story that he’s wanted to write for quite some time. While the theme of Gotham being darker and haunted by something that Bruce is unaware of, I can’t recall a storyline in which it’s explored that Batman ultimately has no control over the fate of Gotham City, and while I’m sure that, ultimately, Batman will save the day and come out on top, that’s definitely not how it feels in this comic. In this comic, Batman is taken to the depths of the city and is shown the power of The Court of Owls. Bruce Wayne is led to believe that those in his inner circle have betrayed him, which drives Wayne to the point of questioning every single motive of those to whom he is close. Snyder does an excellent job of building Batman up to a state that we haven’t seen lately as a quiet and reserved, yet powerful character to a point where he cracks and is placed in a weakened, vulnerable state. And that’s where the key to Snyder’s story is – character work.
As I said earlier, Snyder knows Batman. Snyder has the voice of both Wayne and Batman down to a science. In Court of Owls, he manages to nail the recent, lighter characterization in Batman Incorporated while also incorporating the Batman of Hush, No Man’s Land, and Batman Year One. The detective aspect of Batman is also here because Snyder writes an incredible mystery. Pages are constantly turned when Batman discovers the DNA of a killer who has struck Gotham, which is revealed at the end of the first issue, but that’s only the start of it. Clues start popping up as to the whys, hows, and whos of The Owls that have controlled Gotham City for so long, and it’s on par with any great mystery comic out there. As a single volume story, though, it doesn’t work for me.
That’s not to say that this volume doesn’t work at all, however, because it absolutely does. Batman starts off strong as a character, is faced with a terrible situation, adjusts his mentality and drive, and ultimately comes out the victor, which is how a comic book story arc should play out. It’s just impossible to look at this volume as anything more than a segment of the grand plan which plays out through issues 8-11, so if you’re reading this book, you’re probably going to feel a little cheated that it’s not the whole thing. The comic ends with an incredibly dramatic moment which leads to a huge question mark in regards to one of Batman’s closest allies and a cliffhanger plagues the final pages of the volume, which is something I can’t stand with a collected edition. Because, when you’re buying a book like this, typically you expect some finality to the story that won’t make you want to wait until DC decides to collect the final part. You aren’t getting the entirety of the story, which is unfortunate, because in my opinion, you need the second half to truly appreciate the first.
While the writing is certainly enough to get someone to absolutely love this comic, I’d be remiss if I didn’t talk about the comic’s other half composed by penciler Greg Capullo, inker Jonathan Glapion, and colorist FCO. First and foremost, whenever is group works together, they bring the best out of each other, which is evidenced in books like Haunt, but more so within the pages of Batman. They have a chemistry that makes the entire comic feel like something special just by looking at it, which it is. Capullo has a kinetic energy to his pencils that makes the still images jump off the pages with movement that is as exciting as it is clean and beautiful, while the colors of FCO enhance the comic’s beauty. Where Glapion’s talent comes in, however, is with his heavy inks that set the dark tone and mood that Snyder is crafting with The Owls. And the way these two work together sums up the pace and story of The Court of Owls, it’s an action/adventure thrill ride that also lends itself to deeper thought with a looming darkness that constantly feels like it is about to strike.
Although I would prefer an oversized edition that collects the entirety of this team’s run, all of the creators truly work together to create a magic book that is absolutely worthy to be the first chapter of Batman in the new DC universe. I think it’s deserving of a future Absolute Edition, don’t you?
Sunday, August 3, 2014
Publisher/Year: Dark Horse, 2013
Artist: Ron Randall
Writer: Ron Randall
Collects: Dark Horse Presents Vol. 1 #4-6, #20-22 and #39-41, Trekker #1-6, Trekker Color Special, A Decade of Dark Horse #2, Trekker #1 from Image Comics
Ron Randall's Trekker returns in an omnibus edition, and it's a good thing to have as like many creator owned comics originating in the 80s the series bounced around a bit from being a feature in another series or changing publisher as was the case with other series like Grimjack, Usagi Yojimbo, or Groo. This volume pulls the Trekker stories from Dark Horse Presents Vol. 1 4-6, 20-22, and 39-41, Trekker 1-6, Trekker Color Special, and A Decade of Dark Horse #2, from Dark Horse as well as Trekker #1 from Image Comics. In addition to that is over 60 pages of new color material featuring both new story material and chapter/story break illustrations. Other goodies include a profile on Trekker creator Ron Randall, a sketchbook section displaying various pencil pages, designs, promotional pages and the like, as well as a foreword by Gail Simone (writer of Batgirl , Birds of Prey, and Secret Six). All of that together allows this omnibus edition to clock in at some 300 plus pages.
But what is Trekker you ask? One answer is in the world of Trekker, a trekker is a bounty hunter sanctioned by the government to supplement the underfunded police. Another is the adventures of Mercy St. Clair, the title character of the series. While yet another answer is sci-fi noir. Sci-fi noir? Sure, detectives, bounty hunters, hit-men, mobsters, smugglers, crooked politicians, and spaceships! Imagine Grimjack without the fantasy elements or Judge Dredd with out the dark humor/satire and you kind of get the feel. Or possibly think of something like Firefly.
On to the adventures of Mercy St. Clair. Noir and sci-fi action fans will have plenty to enjoy as Mercy goes through a series of adventures pitting her against adversaries ranging from mobsters to hit-men to corrupt politicians to outlaw killers to smugglers to terrorists as well as against the police and even other trekkers. Many with the requisite henchmen of course. That's not to say it's all action, action, and more action. Randall includes many character and drama driven scenes with Mercy interacting with characters such as her closest friend, boyfriend, mentor Angus, and Uncle Alex (who as a police lieutenant provides an even more interesting dynamic at times as a result)in addition to scenes with her pet Scuf which allow for reminisces about Mercy's past. And speaking of past, yes, we do get an origin story as tragedy in Mercy's past is hinted at along with the road to her becoming a Trekker which is revealed later on in the volume.
Those various adventures take Mercy to a variety of locales. What would noir stories be without seedy bars or the docks? Or even shadier alleyways? Abandoned tunnels, swamps, deserts, spaceports, as well as any other locales her hometown of New Gelaph can throw at her.
Some of the stories collected in the omnibus are in color while others are in black and white. This is simply how they were produced as some were black and white comics while others were color. While some might prefer all one or the other, I honestly think the color stories look best as they are while the black and white stories have the proper tone to them to look how they should as is.
If you want to try a series with a strong female lead, give Trekker a shot. If you want to try some sci-fi comics, give Trekker a shot. Or if you just want to read some comics with good art and a good story (which is all a comic needs), give Trekker a shot. Just be careful that Mercy doesn't shoot back! I agree with Gail Simone's P.S.: "More Trekker, please."
Sunday, July 27, 2014
Publisher/Year: Vertigo, 2013
Artist: Inaki Miranda, Barry Kitson
Writer: Lauren Beukes, Bill Willingham
Collects: Fairest #8-14
The legend of Rapunzel gets a new twist, as fans of Vertigo’s Fables are treated to an adventure starring the lass of long locks moving her way through Japanese culture and history to find her long-lost children. Summoned back to Japan to relive her medieval wanderings and the love she shared with one woman — a kitsune (fox) — Rapunzel must make things right between her and the people she left behind before arriving in Fabletown. Meanwhile, her mother Frau Totenkinder has other plans for the magic Rapunzel once vowed to restore, leading to an all-out gang war between legends in the streets of downtown Tokyo.
Lauren Beukes is one of a select few to write in Bill Willingham’s sandbox of Fables characters, and she unquestionably lives up to the feat presented in this volume, largely focused on the relationship between Rapunzel and Tomoko, the fox woman of Japanese legend. It’s a largely sensitive portrayal of romantic love, however sad, in a series with few LGBT characters to date, and one that keeps the tradition of tragedy alive in Japanese mythologies despite the flip in genders. Rapunzel is certainly no angel here, driven by understandably selfish motivations, nor is any other player in the grand scheme. From Mayumi — the Japanese urban legend of a woman with a grisly surgical smile — to Totenkinder with her (clearly) ulterior motives, characters float in and out of the tapestry of the story to leave behind the sense that no one is getting exactly what they want, despite their best efforts. The rich well of Japanese legends brought into the story is a nice change of pace from the usual standard of European fables which populate the main series, and it seems to go along with this title’s other, unspoken mission to bring Western and Eastern mythologies together, as Willingham did so eloquently in volume one of the series. Certainly, seeing an anthropomorphic Panda brandishing an automatic weapon has got to please even the most jaded reader.
Inaki Miranda introduces a vision for the Hidden Kingdom that lets readers continue to uncover more and more ideas upon every page through. As someone who is not well versed in Japanese lore, I found the combination of Miranda’s detailed pencils and Beukes’ subtle references enough to gain context, and in some cases, experience great glee in recognizing some aspect of the culture I’d absorbed and thought lost to memory long ago. Of particular note is Miranda’s transformation of Rapunzel into the look and inspiration for the spectral woman of Ringu, blending more contemporary ideas of Japanese myth with ancient lore quite effectively. While the art does seem to deteriorate slightly over the course of the six issue arc, ending in a rather under-detailed final chapter, so many of the artistic interludes along the way compel prolonged attention and make that faltering a minor blip in an otherwise well-crafted book.
The volume does wrap up with a short story by Willingham himself, drawn by master artist Barry Kitson, starring the Princess Alder, tree nymph and beloved daughter to the Adversary himself. It’s a cute tale of a predictably mismatched date gone wrong that makes for a fun contrast to the otherwise dramatic contents of the volume. Like most of the Fables universe to date, this volume proves that the opportunities for great storytelling are limitless when it comes to these characters, and Fairest continues to stand up to its parent book in quality and sheer entertainment value. I can’t wait to see what the ladies of Fabletown have to offer us next.
Sunday, July 20, 2014
Publisher/Year: Dark Horse, 2013
Artist: Duncan Fegredo
Writer: Mike Mignola
People rejoice, for the great team behind some impossibly great Hellboy stories are reunited for an original graphic novel. Indeed, Mike Mignola, Duncan Fegredo and Dave Stewart, those behind such stories as Hellboy: The Wild Hunt and The Storm and The Fury are back as they try to tell an original story featuring a much younger Hellboy, one with perhaps a tiny bit of innocence still left in him. While it may be particularly great for fans of the beast of the apocalypse, is it perhaps something that readers unaware of the mythos of the series might enjoy? More importantly, is it good?
It is my belief that the answer to both these questions would be in the positive, as Mignola is able to mix childlike sensitivities, a feeling of horror and the Hellboy mythos flawlessly without alienating any of these aspects in favor of the others.
Speaking about each of those aspects, the childlike sense of wonders comes directly from the point-of-view of the titular character, Hellboy himself. In this story, though, readers are treated to a much younger protagonist. Gone is the tough supernatural detective, replaced by a character much more akin to the younger self readers grew to love from stories such as Pancakes. The innocence of Hellboy is not only a particularly refreshing take on the character, but it is also what propels much of the story forward. His fears and his sense of wonders plays a huge part in the atmosphere of the story, magnifying everything as it passes right through the emotions of the character.
It is a blessing then that he is written very well, with a certain sense of mischief, of adventure and a desire to be part of something. Like a lot of children, Hellboy simply doesn’t know any better and gets in trouble, which is the highlight of the story as things he doesn’t understand begin to gravitate toward him. Despite his wishes and what he’d like to be, the story plays a huge part on developing certain traits of his. Being part excitable and gullible, it is a wonder to see him get excited about his favorite comic book, Lobster Johnson or when he is being attacked by monkeys and all sort of beasts in the circus. As the point-of-view for the horror and the marvels of this weird world created by Mike Mignola, the younger Hellboy works like a charm.
What also works very well is the much more horrific aspect of the tale. Playing with some of the more classical tropes of what people might attach in terms of fright to a circus, Mignola adds some other things of his own to the regular horrors connected with the concept. We do have the animals, the helpers and the like to rely upon for the fearful elements, but Mignola weaves in demons, illusions, crazy dreamscapes and some fables in his story that adds quite a lot in terms of concepts. Weaving in the mythology built around his character to the mix, Mignola does so without destroying the effects some of the elements may have on the readers. Fans might get a bit more from this story knowing who Astaroth is, but the key concepts around the character are clear enough for the non-initiated to be aware of just what kind of person he is.
Perhaps the only element that is weaker than the rest is the story itself, though, as it doesn’t accomplish much except perhaps add a bit of mythology for Mignola to use in the current Hellboy series. The general elements and the progression is fairly standard as far as plotting goes, with the story handled in the same manner as a child tale, which is part of its charm, yet it doesn’t do much in terms of complexity. It’s the classic tale of a child running away, only to learn the lesson that he shouldn’t have done so in the first place. The direct reference to Pinocchio is quite apt in the story itself, considering that angle, yet the strength of this graphic novel doesn’t lay in the basic plot behind it, but in its execution. There are a few twists here and there that fans of the Mignolaverse may get more of a kick out than other readers, but they aren’t exactly clear-cut in the narrative. They don’t retract anything, yet not everyone can exactly gets all the references. It’s strong work, yet not necessarily for the occasional readers.
The strongest aspect of this whole thing, though, is the art by Duncan Fegredo. In this graphic novel, he uses a good number of different styles, conveying a certain sense of wonder on one side with a more traditional Mignola approach on the other. The circus scenes have a different design, with the lines being a mix between Fegredo’s approach to storytelling and Mignola’s, with some unfinished lines combined with complete ones. There is also a certain opaque sense of details when dealing with the circus elements, enhancing the otherworldly sensation in the pages and panels dealing with this setting. The other style is much closer to the rougher, but also very fitting approach of Mike Mignola, with a certain focalization on rougher lines and shadows. The character designs, expressions and poses are all top-notch, with their reactions being very fitting for each new twists or concepts thrown in the story. The backgrounds, needless to say, are simply gorgeous as it becomes clear that this graphic novel took a lot of work from Fegredo. They are striking, memorable and full of life as close to none of them are lifeless, making the pages brimming with details without becoming chaotic or simply unfocused. Fegredo understand the strength of empty spaces in terms of storytelling, as he is able to balance things out in order to use them without making the pages look empty as well. The story flow is good, the panel sequencing is great and much of what is found there is good. This is an excellent display of Fegredo’s talent.
It is also a display of why Dave Stewart won a good number of Eisner awards, as the colorization fits the tone and the style in an excellent manner. Stewart use a vast number of colors to great effects, with most pages showing a different style to add to the marvellous aspects of the script. The invocation in the circus, the belly of the whale, the discovery of the circus, the hellish landscapes, the library scenes and a variety of others showcase a very different palette each time, creating a rich visual diversity that simply add so much to the tale. Contrasts are visible everywhere, enhancing the focus on certain elements, yet are done without brushing away other elements. It’s excellent work from Stewart, plain and simple.
Combining horror, a sense of child-like wonder with a subtle touch of Mignola’s own mythology, this graphic novel simply astounds on many levels, the strongest being the art of Duncan Fegredo and Dave Stewart, which can only be summarized as breathtaking. In simpler terms, it’s a beautiful and impossible strong piece of work from everyone involved.
Sunday, July 13, 2014
Publisher/Year: IDW, 2013
Artist: Antonio Fuso
Writer: Mike Costa
Collects: Cobra #13-16
G.I. Joe (or Action Force to British readers with long memories) is at its best when it forgets its toy store origins and focuses on delivering solid stories of warfare with a touch of the fantastic. Cobra: Son of the Snake is a good example of what the franchise can be used for. A tale of double-dealing and espionage, it works on multiple levels – as a decent spy thriller, but also as a reasonable detective procedural with a nice sprinkling of action adventure.
A catastrophe has severely reduced G.I. Joe's resources. This ups the game slightly; the heroes can no longer rely on ridiculous super-technology to track bad guys and shorten the chase, and now they have to use their heads a little bit instead of just beating the tar out of villains. The cast of characters has been selected fairly carefully. Some of these heroes will never get their own action figure, and that’s a good thing; it allows the tale to focus on believable characters in a larger-than-life world.
The artwork is messy and gritty, but still manages to be very easy on the eye. The action scenes are strong, without resorting to cheap gimmicks, and violence is used sparingly and to good effect, with a hyper-violent scene early on serving as an anchor for later events.
Fans of the more recent Bond movies, as well as those who dig shows such as NCIS might want to consider taking a look at G.I .Joe: Cobra – Son of the Snake. This particular serpent really has shed its skin and become something much more interesting than an extended toy advert. There’s enough here for fans of the franchise to enjoy but it’s also a good stepping-on point for new readers.
Sunday, July 6, 2014
Publisher/Year: DC, 2010
Artist: Ramon Bachs
Writer: Fabian Nicieza
Collects: Azrael #1-6
Some people seem adamantly against superhero comics or characters touching on certain real-life issues in stories. For instance, Greg Rucka and Judd Winick are two writers who’ve caught flack in the past for telling stories involving gay characters and the persecution they sometimes face. Personally, I think it all depends on how you portray the issue, and whether you come off as preachy.
In Azrael: Angel in the Dark, Michael Lane is a soldier of the cross, tasked with carrying out God’s justice. But what does being God’s Dark Knight actually mean? Our new Azrael is presented with several conflicts that test his merit, both as a person and as a hero. To an extent, how he fares is up to the reader to decide. But keep in mind, this book implies that the Suit of Sorrows (which Azrael wears as his armor) will one day drive Michael Lane insane.
I really want to give this book to a Catholic minister, just to see what his/her reaction is. At the end of the first issue, we see an image of Lane being CRUCIFIED. I’m not a heavily religious person, and that surprised me. I can only imagine how a devout Roman Catholic would feel.
The book also touches on the Israel/Palestine conflict. Lane is a war veteran, having served in Iran. In the third issue, he protects a Palestinian who has been savagely beaten in a heavily Jewish area of Gotham. Then, he and his former batallion-mates confront another fellow soldier who’s been killing Muslims in Gotham City. Lane has to decide whether this man deserves to live or not. The decision he makes is a bit surprising.
We also get appearances by Batman & Robin, Huntress and Ragman. Solicitations advertise Azrael as “a crusader forever linked to Batman’s destiny.” (But do they mean the Dick Grayson Batman, or the Bruce Wayne one?) Batman is also featured on this book’s cover, presumably to boost sales from casual readers. I’m really hoping this book doesn’t go the way of Gotham Central and get cancelled in the midst of its prime. I’m really enjoying this series, if for no other reason than it’s not afraid to be in that religious realm. But at the same time, it’s not preachy. Best I can tell, Azrael’s adventures are never intended to be anything but fantasy. Still, some of them make you ask moralistic questions of yourself, and that’s pretty cool.