The American government doesn’t trust the Justice League, so it’s making its own in Justice League Of America #1 (DC), the new ongoing by Geoff Johns and David Finch featuring a team of the world’s deadliest heroes. Johns assembles an attention-grabbing lineup for the group, mixing high-profile characters like Catwoman and Green Arrow with lesser-known heroes like Vibe and Stargirl, but this first issue fails to give a solid reason for them coming together. As lackluster as Johns’ first issue of Justice League was, at least it was active; Justice League Of America utilizes that time-honored team-building conceit of people sitting around a table with folders full of superhero headshots. This leads to lots of expository narration as Amanda Waller tells Steve Trevor about her candidates, with Johns checking in with the heroes to show scenes of them in action.
Back in December, Big Issues addressed how Jonathan Hickman’s Avengers provided a template for putting together a superhero team. That book introduced a threat that required the team’s expansion and spent time showing why the new members would be interested in joining, two things that Justice League Of America doesn’t accomplish. When Justice League Unlimited did a storyline about the American government plotting against the Justice League, the behavior of the superhero team justified the suspicion. Thus far, the New 52 Justice League is a hypothetical threat only, and it’s hard to get behind Waller’s rationale when it’s obvious that Superman, Wonder Woman, and Batman aren’t going to go bad anytime soon.
This new Justice League title is intended as the lead-in to the upcoming “Trinity War” event, but the team’s formation is a contrived way of setting up the future conflict, complete with a corkboard that explicitly outlines future matches. Readers learn why Waller wants these heroes, but not why they personally want to be there, making the lineup feel like a gathering of superpowers and skill sets without any character underneath. With an absurd cliffhanger featuring the maybe-death of a hero whose title was just completely re-hauled and a 50 states variant cover initiative that has the heroes lifting 1 of 50 different state flags, this book is starting right off with cheap tactics to generate sales.
David Finch is one of DC’s superstar artists, yet while his pencils are meticulously detailed and he knows how to create a striking splash page, his characters tend to look overly posed. This cuts into the pages’ sense of motion, and no matter how intricate the linework gets, it can’t compensate for that stiffness. Like the classic Image artists that influenced him, Finch struggles with faces, and he uses stock faces for males and females that are only slightly altered via skin tone, hair, and eye color. (The big exception is Amanda Waller, who has more masculine features than the rest of the women in the book.) That said, Finch is by no means a bad artist. His art has a darker edge that’s appropriate for a storyline titled “World’s Most Dangerous,” but it’s not enough to make up for the title’s shaky concep.
The Bard’s expansive stock of characters makes his library a perfect candidate for the Fables treatment. After producing a thrilling debut miniseries two years ago, the team behind Kill Shakespeare is back for more stories starring the ragtag group of Hamlet, Juliet, Romeo, and Othello. For Kill Shakespeare: Tide Of Blood #1 (IDW), writers Anthony Del Col and Conor McCreery switch the setting to Prospero’s island, using this first issue to fill readers in on the events of the last series before heading off to a new locale. Hamlet was the central figure of the initial miniseries, but Romeo takes the lead in Tide Of Blood, struggling with abandonment issues as he watches the Prince of Denmark get cozy with his old Capulet lover. He dreams of Prospero’s daughter Miranda, and when she appears in reality, Romeo is given the opportunity to stop wallowing in drink and despair and start being a hero again.
Andy Belanger’s artwork has become tighter in his time away from this world, and his characters are now as expressive as his backgrounds are detailed. The downside to the visuals is that Shari Chankhamma’s colors are a bit too subdued and end up washing out the linework. However, that could be intentional to emphasize the dullness of the world outside of Prospero’s island; hopefully she’ll utilize a more vibrant color palette once the book moves into the fantastic location. Perfect for everyone from Shakespeare fans to readers who are just looking for a riveting fantasy adventure, Tide Of Blood is a strong continuation of a franchise that will ideally be around for a while.
Even the most talented men and women who became comic-book artists in the mid-20th century tended to think of themselves as commercial illustrators first and foremost, often dismissing claims by fans and critics that they were producing anything like capital-A “Art.” Bernard Krigstein, though, always thought like a fine artist, even when he was drawing stories about cowboys, soldiers, or gangsters. That’s why after almost 20 years in the business, Krigstein left comics to become a painter and a teacher, sharing some of the analytical approach that he brought to the pulps. Krigstein’s comics work has long been prized by collectors, and Krigstein biographer Greg Sadowski assembles a lot of it under one cover in Messages In A Bottle (Fantagraphics), an expansion of the Sadowski-edited 2004 anthology B. Krigstein: Comics.
The collection is anchored by Krigstein’s most famous story: the Al Feldstein-written “Master Race,” a post-Holocaust thriller that ran in EC Comics’ non-horror title Impact after sitting around the company’s offices for nearly half a year, stumping the editors. But “Master Race” is surrounded by almost-as-stunning stories that show how Krigstein’s style evolved quickly, from his more conventionally rendered pre-EC pieces to work that almost doesn’t resemble comics. Later in his stint as a comic-book artist, Krigstein filled pages with elaborate abstract-art exercises, with some panels containing gorgeously detailed line drawings, some containing large amounts of negative space, and some subdivided into three or four narrower panels. Krigstein treated each assignment as a chance to put theory into practice, and even among EC’s formidable roster of stylists, Krigstein stands out as one for whom the words around the pictures almost don’t matter, because the art’s so mesmerizing that it’s hard to pay attention to anything else… [NM]
Back in December, Big Issues addressed how Jonathan Hickman’s Avengers provided a template for putting together a superhero team. That book introduced a threat that required the team’s expansion and spent time showing why the new members would be interested in joining, two things that Justice League Of America doesn’t accomplish. When Justice League Unlimited did a storyline about the American government plotting against the Justice League, the behavior of the superhero team justified the suspicion. Thus far, the New 52 Justice League is a hypothetical threat only, and it’s hard to get behind Waller’s rationale when it’s obvious that Superman, Wonder Woman, and Batman aren’t going to go bad anytime soon.
This new Justice League title is intended as the lead-in to the upcoming “Trinity War” event, but the team’s formation is a contrived way of setting up the future conflict, complete with a corkboard that explicitly outlines future matches. Readers learn why Waller wants these heroes, but not why they personally want to be there, making the lineup feel like a gathering of superpowers and skill sets without any character underneath. With an absurd cliffhanger featuring the maybe-death of a hero whose title was just completely re-hauled and a 50 states variant cover initiative that has the heroes lifting 1 of 50 different state flags, this book is starting right off with cheap tactics to generate sales.
David Finch is one of DC’s superstar artists, yet while his pencils are meticulously detailed and he knows how to create a striking splash page, his characters tend to look overly posed. This cuts into the pages’ sense of motion, and no matter how intricate the linework gets, it can’t compensate for that stiffness. Like the classic Image artists that influenced him, Finch struggles with faces, and he uses stock faces for males and females that are only slightly altered via skin tone, hair, and eye color. (The big exception is Amanda Waller, who has more masculine features than the rest of the women in the book.) That said, Finch is by no means a bad artist. His art has a darker edge that’s appropriate for a storyline titled “World’s Most Dangerous,” but it’s not enough to make up for the title’s shaky concep.
The Bard’s expansive stock of characters makes his library a perfect candidate for the Fables treatment. After producing a thrilling debut miniseries two years ago, the team behind Kill Shakespeare is back for more stories starring the ragtag group of Hamlet, Juliet, Romeo, and Othello. For Kill Shakespeare: Tide Of Blood #1 (IDW), writers Anthony Del Col and Conor McCreery switch the setting to Prospero’s island, using this first issue to fill readers in on the events of the last series before heading off to a new locale. Hamlet was the central figure of the initial miniseries, but Romeo takes the lead in Tide Of Blood, struggling with abandonment issues as he watches the Prince of Denmark get cozy with his old Capulet lover. He dreams of Prospero’s daughter Miranda, and when she appears in reality, Romeo is given the opportunity to stop wallowing in drink and despair and start being a hero again.
Andy Belanger’s artwork has become tighter in his time away from this world, and his characters are now as expressive as his backgrounds are detailed. The downside to the visuals is that Shari Chankhamma’s colors are a bit too subdued and end up washing out the linework. However, that could be intentional to emphasize the dullness of the world outside of Prospero’s island; hopefully she’ll utilize a more vibrant color palette once the book moves into the fantastic location. Perfect for everyone from Shakespeare fans to readers who are just looking for a riveting fantasy adventure, Tide Of Blood is a strong continuation of a franchise that will ideally be around for a while.
Even the most talented men and women who became comic-book artists in the mid-20th century tended to think of themselves as commercial illustrators first and foremost, often dismissing claims by fans and critics that they were producing anything like capital-A “Art.” Bernard Krigstein, though, always thought like a fine artist, even when he was drawing stories about cowboys, soldiers, or gangsters. That’s why after almost 20 years in the business, Krigstein left comics to become a painter and a teacher, sharing some of the analytical approach that he brought to the pulps. Krigstein’s comics work has long been prized by collectors, and Krigstein biographer Greg Sadowski assembles a lot of it under one cover in Messages In A Bottle (Fantagraphics), an expansion of the Sadowski-edited 2004 anthology B. Krigstein: Comics.
The collection is anchored by Krigstein’s most famous story: the Al Feldstein-written “Master Race,” a post-Holocaust thriller that ran in EC Comics’ non-horror title Impact after sitting around the company’s offices for nearly half a year, stumping the editors. But “Master Race” is surrounded by almost-as-stunning stories that show how Krigstein’s style evolved quickly, from his more conventionally rendered pre-EC pieces to work that almost doesn’t resemble comics. Later in his stint as a comic-book artist, Krigstein filled pages with elaborate abstract-art exercises, with some panels containing gorgeously detailed line drawings, some containing large amounts of negative space, and some subdivided into three or four narrower panels. Krigstein treated each assignment as a chance to put theory into practice, and even among EC’s formidable roster of stylists, Krigstein stands out as one for whom the words around the pictures almost don’t matter, because the art’s so mesmerizing that it’s hard to pay attention to anything else… [NM]