And now, the Reboot. I will preface this with the fact that I was neither excited about the reboot, nor have I any faith that it will be anything but a temporary shot in the arm to the industry.
“Gimmick” – that is my one-word reaction. Like all Bat-related new beginnings, the story starts by introducing the city. Then we get treated to a story designed to manipulate for shock value – tried and true, you know they won’t actually go there but they’ll pull as much emotional manipulation out of the story as possible.
It is a good entry point for new readers who are fans of 1980s TV police procedurals, as the structural elements and character relationships feel are very familiar to that genre. We get introduced to Gotham City, a bevy of characters. Wayne’s company is doing redevelopment work in Gotham, we see he’s not the only one. There’s a gruesome murder with a secret message that only Batman realizes is there, one shocking disguise, and a cliff-hanging shocker related to the secret message and gruesome murder. Dun dun dun… No character beats whatsoever.
Snyder’s plot is safe and it’s elements are predictable even if the details aren’t. Capullo, Glapion, and Plascencia’s art is crisp and very attractive but not emotive or dynamic – great for stills but not necessarily helping tell the story. I had a problem with having to tell Bruce Wayne, Dick Grayson, Tim Drake, Damian Wayne, and (new to me) Lincoln March (all blue-eyed brunettes) apart by their height (in descending order: March, Wayne, Grayson, Drake, and D.Wayne). I will not be picking up #2.
I picked this one up in solidarity and nostalgia – Catwoman (Chuck Dixon’s run in the 90’s) is what got me into comic books. I hate the cover and first 4 pages, the middle 11 pages show promise of turning into something worth reading, and I hated the final 5 pages. Ugh.
The title of the storyline accurately represents the first four and last five pages of content – Catwoman is a titillation, with a lot of fanservice; the central turning point of the issue is her sexual relationship with Batman – it’s given a weight in the issue that nothing in her own character gets – her relationship to him becomes the most important thing we know about her in a vehicle meant to introduce her.
Of the middle eleven pages: I do like the presence of Lola, and the art style (different body-types! Actual expressions! Middle-aged faces with what looks like signs of aging!), the dialog grates. The panels showing the beat-down Selina handed the Russian mafia thug (with her shirt open) shows that the framing fo Selina’s breasts and ass earlier is deliberate, because the fight panels were brutal, bloody, and focused on the guy and Selina’s facial expression – no titillation whatsoever beyond her initial distraction. It makes me want to pick up issue #2, just to see if anything comes of that brief glimpse of an actual character under all that cheesecake and the “I am a flippant, cutsey loner” excuse for the dialog.
What I really want? A Catwoman series written by Chuck Dixon and drawn by Guillem March. That would be awesome.
I am unable to assess on a new-reader level, because she is so much a part of my comics past. However, if it is accessable to new readers, I see nothing in the story or character here that would make a new reader care enough to pick up issue #2.
This is the first that I think provides an immediate “in” for a new reader, Tomasi managed a clever way of introducing Guy Gardner and John Stewart, the Green Lanterns as a police force, and a mystery all at once. Pasarin and Hanna provided the atmosphere for the mystery portions (really creepy, like the good procedurals these days), and the character beats and personality for everyone we’re introduced to (and there are a lot of characters, given it’s a “team” book), cleanly and with a lot of meaning packed in very tightly.
Very quickly, we get the villains that our Lantern Corp will need to catch (even though we don’t technically see them), and have emotional investment in their capture as their first act is to murder two Lanterns. Then we get the two Lanterns of Earth, neither of whom has a secret identity, so we get to see them comfortable with their abilities and using them as an extension of personality and professionalism. The circumstances and manner in which both explain the ring, Corps, and powers to civilians does double duty as showing what kind of men Guy and John are, respectively, and providing the needed exposition on their abilities and responsibilities.
The exposition monologue isn’t as bad as it could have been. A little clumsy, but it works well with the awkwardness of the reunion at Haley’s – though, it was weird the way that characters at Haley’s spoke to Dick like his parents died only a short time ago (a few years at most). Not a lot of plot to this issue – even when the assassin comes to town (“assassin comes to town”, and “Dick visits Haley’s” pretty much covers it).
The cliff-hanger points to a tie-in with the plot line of Batman #1, either that or Dick being suspected of murder is a plot occurring in two titles, independently of each other.
I am not at all sure what to make of the costume design – but I like the top half. Why is Supergirl’s costume such a headache? Would it have killed them to give her blue leggings, like the ones Superman wears?
The representation of her disorientation is very well executed – Green handles the reveal and escalating panic at a good pace. “Something’s wrong with the sun!” as our yellow sun rises over the Siberia – “This isn’t Krypton!”. And a quick tie to Nightwing #1 in a bit of dialog representing her super-hearing waking up.
The plot is good, with a lot of potential. We start with a disoriented Kara, who doesn’t know (or doesn’t remember) that Krypton is gone, her last memory is heading home with her friends. She wakes up to meet a team of mechanical suits being piloted by a team sent to retrieve the alien (her). As the sun rises, Kara’s powers start manifesting, and she goes from thinking the situation is a dream, to causing damage in her reaction to both the retrieval attempt, the fact that she can’t understand what the retrieval team is saying, and the new abilities freaking her out (as they would anyone). The last shot is Superman trying to stop the combat (we hope).
I admit – this was the only title in the reboot that I was actually looking forward to.
It’s also the only title, of those I’ve read, where the story title text isn’t “DC Comics Proudly Presents [book title] in [story title]” here it’s just “DC Comics Proudly Presents [story title]”. Editing error, or something to feel slighted by?
Less a reboot, and more finally launching a long-promised series – the story starts off after the events in Batwoman’s run in Detective Comics, so those are still part of the DCU, and that makes this book a little less permiable to new readers. But the trade from her run in Detective Comics is available, and highly recommended, so it’ll be easy for interested parties to catch up if they want.
The mystery is intriguing, with La Llorona featuring prominently adding the weight of so many missing children to the plot. Also features a threat directly to Kate, as the Department of Extranormal Operations takes an interest in her. They were one of my favorite additions to the cast of Manhunter, and bring in a nice outside Gotham element to the title.
The strange proposal is – there are issues that don’t do anything for me (as the reviews above indicate), but my reaction is not the reaction of others. So – if anyone reading this would like to trade for Batman #1, and possibly other issues in the future please leave me a comment and we’ll discuss the exchange.
cross-posted to my wordpress blog