As I head into Week Two of the new DCU I find myself asking the question: who would have thought the alphabet would be so cruel?
In Week One the A’s were kind enough to bring Action Comics and Animal Man but then it was a slog (with the surprising arrival of “O is for OMAC”) until I arrived at the alphabetical conclusion with Swamp Thing.
But I know that if I completely eliminate the structure I will skip right to the dessert and never sample the liver, brussel sprouts or sautéed mushrooms. I’d just stick with the stuff I like and never take an honest and open-minded taste of something new and potentially delicious. So, yes, the alphabet will be my guide, but this time it will be writers not titles that lead the way.
Having said that, the books are starting to lose their individual resolution and distinctiveness. For instance…
Writers Dan Abnett & Andy Lanning share a problem with Nathan Edmonson: they’re tasked with writing books that have characters that have been out of service for awhile, both books have a fan base, but neither of the re-launched books manages to make the character accessible to anyone who hasn’t read their previous adventures.
Abnett & Lanning resurrect Resurrection Man but fail to explain what the book is all about. The main character has some kind of weird “Dial H for Hero” power that changes every time he is killed and brought back to life. But who our hero is, who the bad guys are and why all of this crazy stuff is happening – all of it is left unexplained and largely unexamined.
Similar problems plague Grifter #1. The story’s timeline bounces from place to place, the hero is undefined, the villains and supporting cast are a dull mystery and nothing memorable happens in the book.
As a matter of fact as I once again flip through the two of them, it’s amazing how the books have blurred into one. Both books have a character that reacts to something rather than taking action. Both books have sadistic villains who kill innocent people. Both books even manage to have their heroes thrown out of a plane. And, I’m sorry to say, both books have characters that I’m not going to read about again.
Moving down the alphabetical ladder, the next issue is a book that was due at the beginning of the year, was delayed and then previewed in the back of DC books for an April release, was again delayed, and now it’s finally arrived.
Batwoman #1 must have been ready for publication a long time ago, but The Powers That Be must have told the creators that the book had to wait for the re-launch of the whole universe. And, to his credit, J.H. Williams shouldered the scorn of questioning fans and kept quiet about the reasons for the book’s delay. He was a good corporate player and never once said “It’s not my fault! They’re delaying the book! Not me!!”
So, was it worth the wait? Is the artwork as gorgeous as remembered from the Greg Rucka penned Elegy? Is it the best looking book so far from the new DCU? Is it a good thing that Kate Kane has returned with J.H. Williams doing the art and co-writing the book?
Oh hell yes.
To flip through the pages of Batwoman #1 is to sample the work of a stunning artist and amazing craftsman. Simply put, it is a thing of beauty. Over the years Williams has worked with Rucka, Alan Moore, Warren Ellis and Grant Morrison. It’s obvious that he’s learned from some of the industry’s greatest modern writers and his artwork is inarguably among the best in monthly comics.
As for the story itself (because pretty pictures alone do not a comic make), there are some minor problems that co-writer W. Haden Blackman and Williams fail to overcome. Because there are a couple of bumps in the road as the book attempts to re-introduce the character in this new universe.
For instance, there is a photo of Renee Montaya on display on the police department wall as if she was killed in action and it’s uncertain if she’s dead in this new universe or the photo is there solely for its dramatic weight. And since it’s left unexplained, the scene shouldn’t be there. And on the same note, there is the unexplained addition/presence of Bette Kane as Batwoman’s side kick. Plus there is the confrontation between Kate and her father that obviously occurred before her appearances in Batman Incorporated because in that book Kate and her father have reconciled. Much of the confusion with her father might be due to the re-scheduling of the book, but it makes the book feel like it’s been on the shelf, awaiting the okay to finally be released.
Having said all of that, those issues become minor qualms in a comic as stunning as this. The arrival of a certain government agent, not fully explained but wonderfully teased, is a pleasant surprise and Williams has artist Amy Reeder lined up to keep the book looking gorgeous and on-schedule. This is a book that came burdened with perhaps unreasonable expectations and still manages to fulfill them all. It is the best looking book on the shelf.
Writer Paul Cornell has a large stable of characters to deal with in Demon Knights #1 but unlike last week’s Stormwatch he doesn’t have a well-remembered old series to be measured against. And perhaps it is because of that fact this book is more creative and energetic. With this book he manages to reward old readers but still make the book accessible for new arrivals – a task that he didn’t quite achieve in Stormwatch.
Cornell enjoys a freedom in Demon Knights that few other creators in the new DCU are being allowed: set in DC’s past, the book doesn’t feel overcrowded with continuity challenges and that awkward “Who are these characters now?” reboot curse. The Demon, Madame Xanadu and others are quickly introduced (to varying degrees of success) and then they’re thrown into action.
Compare Demon Knights to Suicide Squad #1 and it become apparent what one does right while the other book does horribly wrong.
From the awful revamp of Harley Quinn (who in both costume and character suffers a strained and unnecessary flashback to an editor’s note Detective Comics reference) to the oh-so very bloody introduction of each character, the whole book is just nasty, nihilistic and pointless. One of the key elements in the original Suicide Squad and the more recent Secret Six was that the characters had a chance at redemption with the potential of being something besides just evil. This gang of villains, especially Harley Quinn, is established as being so violent and loathsome that any attempt to portray them as anything besides psychos will be forced and ham-fisted.
Cornell manages to have some fun with the characters in his book. Writer Adam Glass manages to make each character in Suicide Squad an irredeemable maniac. Why DC decided to take Harley Quinn and make her an S&M corset and hot-pants wearing maniac is a mystery. In three panels Cornell does more with The Demon than the entire issue of Suicide Squad does with any of its characters. And it’s those three panels that make me want to read more.