Todd Klein's Blog, page 351

And Then I Read: KNIGHT AND SQUIRE 3

Images ©DC Comics, Inc.

After rave reviews of the first two issues, I must report that I'm not as pleased with this one. The problem arises right in the beginning, on this page:

A scientist and her research center are unveiling a new type of instant cloning, and for a subject they've chosen British monarch Richard the Third from hundreds of years ago. With the press of a button, Professor Merryweather creates an instant clone with the king's DNA, which she says, "in its newly-discovered multidimensional depths, could contain the entire memory of that king." And moments later, there he is, instantly grown and emerging, talking to the crowd in a "where am I?" moment.

Now, if you're going to use science, even wacky comics science, it has to have at least some basis in reality. This does not, for me. It breaks the "suspension of disbelief" necessary to any story not firmly embedded in our reality. Without it, the story can't work. Cloning? Okay. With instant growth to adulthood? Stretching things. With memories from hundreds of years ago? Snap. If you're going to do something like this, why not use magic, or at least time travel, another idea that isn't real science, but at least has become accepted in its unreality.

So, while I enjoyed parts of this comic, every time the king opened his mouth with very wise and witty words, usually in rhymed couplets, just like in the Shakespeare play about him (adding another level of stress to the unreality, however witty), it knocked me out of the story. When he brings back a bunch of other kings to help him take over England things turn to complete farce, which actually worked a bit better for me, as I stopped thinking about the science.

The art is terrific, and the ideas are fun, but this issue misses the mark for me and is only mildly recommended.

And Then I Read: ADVENTURE 521

Images © DC Comics, Inc.

With this issue ADVENTURE continues the story from LEGION OF SUPER-HEROES 7, and apparently that will be the plan from now on, with the two books, both written by Paul Levitz, telling a continuous story. I think this is a good idea, the previous ADVENTURE storyline, supposed to represent the Legion in early times, didn't work well for me. And it means Paul can stretch out a bit with more room for sub-plots and less-used characters.

The weird creature on the cover is Dyogene, who seems to be the heir to the Guardians of the Universe, in that he's going to assign the last Green Lantern ring to someone, and he's planning on giving it to one of the Legion, saying it needs to be in strong hands. Whether this is wise or not remains to be seen. A second storyline focuses on a disaster in Africa that at first seems to be natural, then turns out not to be. Both stories show some clever thinking by the Legionnaires, as well as some good character interplay, two things Levitz does well.

The art by Geraldo Borges & Marlo Alquiza is fine generally, with occasional small distortions in the faces and figures that I think are just the product of artists who are not yet as experienced with drawing at every possible angle and perspective. The sort of thing that usually improves over time. Overall, it's fine.

Recommended.

And Then I Read: BRIGHTEST DAY 14 & 15

Images © DC Comics, Inc.

In this issue, Deadman takes on one of Batman's villains in order to have a chance to talk to Batman. Seems a bit extreme, but makes for some action-filled pages. When things settle, Deadman offers Batman the white ring he's been carrying around, which will apparently make the wearer an all-powerful White Lantern. (Tolkien's One Ring, anyone?) Like Deadman and the other Brightest Day characters, Batman is also recently revived from the dead…sort of, so it makes sense in a way. But, with all that's going on in his own life and books, could he possibly squeeze in another major commitment? Read it to find out.

A fine piece of art by Reis and Prado, the only two artists on this issue for a change. Looks good throughout.

Issue 15 is all about the Martian Manhunter and a Mars we haven't seen before. One where he's managed to restore the planet to its former beauty and life, and where he's being celebrated not only by his people and family, but by the heroes of Earth, his former teammates on the Justice League. It's all a very rosy picture. Too rosy, as I'm sure you'll soon figure out if you've been following the series. Interesting to see this idealized vision of what Mars could be, though. Of course, things soon start going wrong, with the Earth heroes are being mysteriously murdered…

The art on this one is by Gleason, Clark and a host of inkers, but it once more looks good throughout. Nice job of making the inner feelings of the Martians evident in their appearance, too.

Oh, are we supposed to be finding out what Brightest Day is really all about? Not here, not yet. Maybe a slight step or two forward in issue 14, that's about it.

Recommended.

And Then I Read: THE FLASH 7

Images © DC Comics, Inc.

This issue focuses on Digger Harkness, the original Captain Boomerang, brought back from the dead for Brightest Day, with a more powerful weapon: some kind of energy boomerangs he can create at will, but in most ways the same self-absorbed and criminally inclined character. His background and early life are explored, and as you can imagine it's not a pretty tale, but the arrival of boomerangs in the boy's life is an interesting and mysterious moment. And, of course, he learns to use them well, if not wisely. A sort of new origin for the Captain Boomerang persona follows, and then his true criminal career and battles with The Flash begin.

The second part of this story is a bit surprising, as Digger has a plan to free a man he's long considered an enemy, and what happens then is interesting, though it does all seem to be a set-up for bad things to come.

The art on this issue is by Scott Kolins. It doesn't list him as a "guest artist," so I'm not sure if he's the new regular or not, but I have to say I'm already missing Francis Manapul. I'm not a fan of Mr. Kolins. Not sure why, his art just doesn't appeal to me much. I can still recommend this title on the strength of the writing, but only mildly because of the art. Your taste may differ, of course.

And Then I Read: LEGION OF SUPER-HEROES 7

Images © DC Comics, Inc.

I'm continuing to enjoy the writing of Paul Levitz on this book. Despite a somewhat misleading cover, the story opens at the home of the United Planets Council, who have asked the Legion for protection, and despite that, one of their number has been murdered. The perpetrators are found through some clever sleuthing, and the battle is on. Meanwhile, Monel and Earth-Man have a confrontation over their mutual admiration for Shadow Lass, and it's a classic. In a backup story Brainiac 5 and Chameleon Boy travel to Naltor to talk to Professor Li, who is turning into quite an interesting mystery herself.

The art on each story is fine if not remarkable. Here's a nice action scene, well handled by Cinar and Faucher. At times the faces tend to look too much alike, but in most ways this is perfectly fine work. The backup by Portela is of the same quality.

Recommended.

And Then I Read: LEGACIES 7

Images © DC Comics, Inc.

This issue of the series that outlines DC history as it's now officially known focuses on the battles and downfalls of it's two biggest characters: Superman vs. Doomsday and Batman vs. Bane. In a way it puts a spotlight on how the success of big crossover stories led to an apparently endless parade of them, and these two were very big in their time. Now, looking back, they seem much less important, and the retelling comes through that way. Nothing wrong with the writing or art, but we all know Superman and Batman are going to be back soon enough, so there isn't that much drama in it.

The main story art by Dan Jurgens and Jerry Ordway is fine, and the condensed version by Len Wein reads well, but there's nothing very exciting about it to me as a reader.

The backup story is more appealing, since it presents the first interior art by Brian Bolland I've seen in quite a while, and the subject is fun, too, sending The Atom back in time to the fall of Camelot. Brian gets to draw some of his characters from Camelot 3000 again like Merlin, Arthur and Morgaine Le Fey, as well as other DC heroes and villains like the Shining Knight, the Silent Knight and The Demon. Lovely to look at, fun to read, and it puts this issue on my recommended list.

Searching for Spring

As you can see, Leo and Tigger are determined not to miss it. In addition to watching from my studio TV, they're spending more time on the screened porch as the weather warms.

Out in the yard I was surprised once again, as I have been the last few years, by our one surviving crocus in beautiful bloom, and there was a sleeping bee there too, perhaps waiting for the sun to warm him up.

Our little pond has been neglected over the winter, filling up with leaves and algae, so I spent a half hour yesterday getting as much out as I could with our pool scoop.

Afterward the water was stirred up and muddy, but most of the debris was out. I let the water settle overnight…

…and this morning started up the pump that creates the small waterfall and aerates the water. I saw our one big goldfish swimming around earlier, so he survived the winter just fine, though stayed in hiding when I was out there. Haven't seen any frogs yet. Last year's might have moved out before the ice and snow froze the pond, or they might still be hibernating in the mud at the bottom. We'll see.

Podworthy: STEVE GOODMAN

I'm not sure where I first heard of Steve Goodman, but it was probably on WNEW-FM radio out of New York in the mid 70s, where he appeared live on the Vin Skelsa show yearly. I liked his original songs, which were folk with a country or blues flavor at times, and often a healthy helping of humor and satire. It wasn't until he died in 1984 at the age of 36 that I learned of his long battle with leukemia, something that went on behind the scenes through his entire recording career. It's a sad story, he went too soon. You can read more about it on his Wikipedia entry.

Goodman's first break was when Arlo Guthrie had a hit with his song about a train, "City of New Orleans." Goodman himself never had any big hits, but sold enough records to keep him going. There were two records for Buddah, cover of the first self-titled album from 1971 is above. There are a few songs on it I don't care for, but also classics like "I Don't Know Where I'm Goin', But I'm Goin' Nowhere In A Hurry Blues," "Mind Your Own Business," and the aforementioned "City of New Orleans."

The second Buddah album from 1972 is probably my favorite Goodman record, with many great songs like "Chicken Cordon Bleus," and "Lincoln Park Pirates," as well as the title track. Love them all.

With "Jessie's Jig and Other Favorites," Goodman moved to the Asylum label for more fine work. I like all of it. Favorites include "It's a Sin to Tell a Lie," "Lookin' For Trouble," and a great blues synopsis of the book Moby Dick, "Moby Book."

"Words We Can Dance To" has more gems like "Old Fashioned," "Between the Lines," and "The Glory of Love." Like all these, too.

"Say It In Private" has more great work, including "Video Tape," "You're the Girl I Love," "The Twentieth Century is Almost Over" teamed with friend John Prine, and a moving tribute to his dad, "My Old Man."

With "High and Outside" in 1979, Goodman seemed to be losing his edge, and there aren't any songs on this album I love, and a few I don't care for. Now I can guess that his illness might have been taking a higher toll on his ability to write songs. His 1980 album, "Hot Spot" was one I didn't care for at all, and it ended his time on Asylum, but Goodman came back with his own label, Red Pyjamas, starting with a live concert release, "Artistic Hair" in 1983. I like it, but since I already have all the songs in studio versions, I don't have it on my iPod.

"Affordable Art" from 1984 was Steve apparently back in fine form with some great new original songs including "Vegematic," "Talk Backwards," and "A Dying Cub Fan's Last Request," and I like most of the album. Sadly, it was the last to be released before his death.

"Santa Ana Winds" was released posthumously, and while I have it, I don't like it enough to put it on my iPod. There are several later records released on the Red Pyjamas label I haven't heard, including "Unfinished Business," which sounds promising. I'll have to get it one day. Meanwhile, I have 65 Steve Goodman songs to listen to and add to my iPod mix. If you haven't heard any of Steve's music, I suggest you give him a try.

And Then I Read: BATMAN, THE RETURN

Images © DC Comics, Inc.

I'm not reading any of the regular Batman books now, which are all connected in a grand  (or Grant) Morrison epic storyline, but I had to give this one-shot a look to see what it was all about. Essentially it sets up the Batman Incorporated idea which will rule the day for Batmen everywhere, apparently. Grant begins with a nicely handled look at Bruce Wayne's "aha" moment of becoming Batman…from the bat's point of view, and then we're into it. While I don't follow some of the characters involved, I thought it all made sense and read well, and I was particularly pleased to see a one-page feature at the end on Rian Hughes' "Batman Incorporated" logo design. Looks like he designed the logo on this boo, too. Way to go, Rian!

The art by David Finch, Batt and Ryan Winn looks good, though the bat closeups did make me wonder if David had actually looked at any real bat images, but he sure knows how to draw superheroes well, and his action scenes and storytelling are great. This book didn't convince me to read more Bat books right now, but I liked it, and it's recommended.

And Then I Read: BAYOU Volume 2

Images © DC Comics, Inc.

BAYOU is the only one of the webcomics DC's Zuda line produced that I've read, and I've now read the two print volumes.  It's a fine series full of the folklore and archetypes of southern African-American culture, some of which I'm familiar with, but seen through white eyes, which makes a difference. In fact, I think a lot of what appears in the strip would provoke protests if created by whites, so I think it's safe to assume that Jeremy Love is writing from the culture he's immersed in.

Despite an undercurrent of cruelty and inhumane treatment, both of blacks by whites and blacks by blacks, there is an overall charm and appeal of these characters and they way they're drawn. The colors tend to be too dark and too saturated in print, which is probably an artifact of making them look good online, but despite that, a reader can enjoy the art and see what's going on clearly enough. What's going on is a tall tale of epic proportions, with elements of fantasy both dark and light, and wise insights into human behavior and weaknesses, even if some of the characters are in animal form. (Actually, in some cases, I'm not sure what form they are meant to be!)

Some of the language, like constantly calling the young girl heroine "pigmeat" tends to pull me out of the story, though I guess it's meant as a funny nickname, but other than that, I enjoyed this book and recommend it.