Archive for Michael Siglain

Detective Comics #855

Posted in Batwoman, Comics, DC, Detective Comics, The Question with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on 9th August, 2009 by Adam Redsell
Batwoman in Wonderland.

Batwoman in Wonderland.

“Elegy Part 2: Misterioso”
Author: Greg Rucka
Artist: J.H. Williams III
Colorist: Dave Stewart
Letterer: Todd Klein
Assistant Editor: Harvey Richards
Editor: Michael Siglain
Variant Cover Artist: J.G. Jones

“The Question – Pipeline: Chapter One/Part Two”
Artist: Cully Hamner
Colorist: Laura Martin
Letterer: Jared K. Fletcher

It’s official: Detective Comics is the best Bat-book on the shelves at the moment.  Who would have thought that Batwoman would amount to anything more than a media publicity stunt?  Well, the media don’t really care anymore, but I sure as hell do.

So many great Batman staples make their return here: Carroll-inspired villainy, Gothic castles, mad monks, and bad opium dreams [see Arkham Asylum, The Cult, Gothic, Batman and the Mad Monk, and Venom].  It’s Rucka’s respect for these hallmarks that makes us accept Batwoman into the Bat-family, and as a worthy successor to the World’s Greatest Detective.

Batwoman’s new foil Alice is chilling and off-kilter to say the least.  In fact, she’s quickly establishing herself as Batwoman’s Joker, and honestly I think she’s interesting enough to pull it off.  Her exclamations are just like original Alice, but it’s her pragmatism and emotional detachment under the guise of curiosity and innocence that makes my skin crawl.

All of this is augmented by Dave Stewart’s striking colours and J.H. Williams’ beautiful pencils.  Williams’ panel layouts are once again experimental yet easy to follow, and their “otherness” only fuels the drug-induced surrealism that dominates the issue.  “Beautiful, like broken butterfly wings” is the best way I can think to describe it.  Batwoman’s flowing red locks, Alice’s running mascara, the falling autumn leaves, the psychedelic vines that cloud Kate’s memories: this comic is a visual feast.

Suffice it to say, Kate Kane’s beginner’s luck has run out and Alice – new leader of the Religion of Crime – shows her true colours.

A very strange cliffhanger is followed by The Question backup feature, with Cully Hamner ably assisting on pencils.  His art is like Weet Bix and warm milk; the cartoony style can’t prepare you for the gritty brutality that follows.  The Question teaches her adversaries a very valuable lesson: don’t bring a weapon against someone more proficient in that weapon – like nunchaku for instance – it’s just a liability.  After some persuasive interrogation, Montoya shifts back into detective mode, but finds more trouble than info.  The Question’s street-level view helps ground an otherwise fantastical cape story, which again begs the Weet Bix and warm milk analogy.

Once again, Detective Comics has cemented itself as the most beautiful, value-packed book on store shelves.  Issue 854 was a great new start to Detective with very little background required, so why not jump in while the time is ripe?

Detective Comics #854

Posted in Comics with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on 1st July, 2009 by Adam Redsell
Damn good value.  Damn good detectives.

Damn good value. Damn good detectives.

“Elegy Agitato: Part One”
Author: Greg Rucka
Artist: J.H. Williams III
Colorist: Dave Stewart
Letterer: Todd Klein
Assistant Editor: Harvey Richards
Editor: Michael Siglain
Variant Cover Artist: J.G. Jones

“Pipeline: Chapter One/Part One”
Artist: Cully Hamner
Colorist: Laura Martin
Letterer: Jared K. Fletcher

Congratulations must go to James H. “Jim” Williams the Third for producing the first genuinely beautiful DC comic book I’ve read in two weeks.  It’s been nothing short of depressing to see so many potentially great stories dragged down by lacklustre artwork in some of DC’s most important books, particularly the Action line and Green Lantern Corps.  What did DC do, round up all the good artists and blast them into the Phantom Zone?

Consider then, what a breathe of fresh air it must have been for me to see Detective Comics – second-stringer of the Batman line – in such fine artistic form.  Consider also that this artistic treatment was not reserved for the Dark Knight himself, as one would expect, rather for a character who until now has assumed a place of relative obscurity in the DC realms.  Batwoman may have been popular with the mainstream press as the ‘first lesbian superheroine’ – a highly dubious claim, I might add – two or so years ago, but little has been seen of the character since her throwaway introduction in the hit series 52, which proved to be just that.  The third surprise was DC’s willingness to let a character other than Batman headline Detective Comics, but that had long since worn off thanks to the solicits.*

What wasn’t surprising was that writing duties for Batwoman fell to Greg Rucka, the only writer who has written the character since her debut (and even then, he was heavily involved!), and I dare say the only writer who could successfully write her without resorting to lesbian caricature.  A blank slate can be as daunting as it is liberating, but Rucka seems to have taken Katy Kane in his stride.  Rucka’s writing style is as natural as it comes, right down to ‘dealing with’ Katy’s lesbianism, which is precisely what this book needed to dispel claims of PC-shoehorning.  For the record, Batwoman’s debut in 52 was just that – a lipstick lesbian superheroine thrust upon the public consciousness for the sake of political correctness and a few headline-grabs – and in that respect, Rucka has achieved the seemingly impossible: he’s given Batwoman a real origin, a real personality, a real motivation, and as a result, he’s made her into a real character worth reading about.  He didn’t achieve this feat in a single issue – he does draw heavily upon his work in 52 Aftermath: Crime Bible: Five Lessons in Blood and Final Crisis: Revelations – but newcomers will find that the hard work’s already been done for them.  This is a character already established in Rucka’s mind: he knows who she is, and what she would do in a given situation and why, and reading this will give you an appreciation of that.  Batwoman’s first nemesis, Alice, is another non-conventional and interesting villain, drawing on Lewis Carroll’s famous character of the same name.  What’s awesome about this is how deeply rooted in Batman mythology Wonderland and its denizens are (see also: Mad Hatter, Tweedledee and Tweedledum).

It would be a disservice to J.H. Williams III’s work for me to simply compare it to its lacklustre contemporaries and declare it a “welcome relief”.  It is much more than that.  It’s strikingly beautiful.  He always seems to gravitate towards these black, white, and red affairs (like his “Club of Heroes” Batman story with Grant Morrison in recent years) – full credit to Dave Stewart for the beautiful colours, by the way – and he’s right at home here.  His artistic efforts give these events some much-needed gravity: after all, Batwoman has yet to prove her worth as a character, and her worthiness as a usurper of Detective Comics until now.  He continues to experiment with panel layouts, as he is in the habit of doing, and the result is a comic book that looks fresh and exciting.

But wait– there’s more!  The Question backup feature is no slouch either.  Rucka handles writing duties again – as, again, the only writer to have dealt with the character since 52 – with Cully Hamner (Black Lightning: Year One) on art.  Rucka wears Rene Montoya (aka The Question) like a comfortable pair of shoes, while Cully delivers his unique blend of industrial grit and cartooniness.  It’s a strange contrast, being that his art style could easily attract the attention of small children, and yet he never shies from depicting home truths at street-level.  I for one would like to see him employ some thinner linework just to see the difference.  The Question is on the tail of a mystery once again, as she should be (this is Detective Comics, after all).  DNA-wise, The Question and Batwoman are a match made in comic book heaven, even if romantically they are not.  Then again, who knows?  Regardless of whether they get back together, I can see these two mysteries intersecting in the future.  Maybe then it will merge into one great big comic book.

It’s surprising to see the shoe on the other foot this time – normally it’s Batwoman playing second fiddle to Rene Montoya.  One thing’s for sure, though, Rucka’s the only one to be writing these two.  Detective Comics is damn good value.  Pick it up.

Justice Society of America #26

Posted in Comics, JSA with tags , , , , , , , , , , , , , , , , , , on 8th May, 2009 by Adam Redsell
From their family to yours!

From their family to yours!

Author: Geoff Johns
Artist: Dale Eaglesham
Inker: Nathan Massengill
Letterer: Rob Leigh
Assistant Editor: Harvey Richards
Editor: Michael Siglain
Cover Artist: Alex Ross

Geoff Johns’ Justice Society of America is the kind of comic book you can read to your kids by the fireplace.  You could even read it to your grandmother in the retirement home.  That’s no slight on the book, either, just sayin’ – the Justice Society is good, wholesome fun for the whole family.  It’s a bit late to be telling you this now, as number 26 marks Geoff Johns’ final story with the team, but I would definitely recommend picking up his entire run on the series, whether in trade paperback format or back issues if you can find them.

It’s weird, because the Society honestly hasn’t done much in the way of superheroics – mostly they’ve been going to barbeques, helping out at soup kitchens, and on this occasion, throwing a surprise birthday party for Stargirl – during Johns’ tenure.  That he managed to juggle such an unbelieveably large cast for so long (and made it progressively larger to boot) and still give me a sense of each who each character is, really speaks to his strengths as a writer.  It doesn’t matter that they don’t throw a single punch in this issue; it doesn’t matter that a whole page is devoted to Hourman and Damage trying to decide what ice cream they want at the corner store; it doesn’t even matter that this issue and indeed Johns’ run itself culminates in Stargirl’s dentist appointment (in uniform, no less!) – these are genuinely interesting characters that I care about on a human level – due in no small part to Geoff Johns’ expert characterisation.  It would be remiss of me not to acknowledge Dale Eaglesham’s involvement in all this – the man draws perfect facial expressions – and that goes a long way toward making these spandex-clad stalwarts believeable human beings.

The more I think about it, the more amazing it all is.  Probably my favourite character of the series has been the utterly deranged Starman – a chemically imbalanced superhero sent back through time from the 31st Century – who, in this issue scarfs down four tubs of ice cream and buys out a lemonade stand for thousands of dollars!  Sure, it gets a little corny at times with the old-timers spouting platitudes left, right and centre, but the book’s just so damn charming.  I can’t fault it.

Okay, one thing: I’m so damn sick of all these 5-page previews at the back of my DC Comics.  Give me (and the writers) five more pages of story, not five pages of stuff I didn’t ask for and probably won’t buy anyway.  Last week it was Power Girl; this week it’s Animal Man.  The only Animal Man you’ll find me reading is Grant Morrison’s, and the only Power Girl you’ll find me reading is contained within the pages of Geoff Johns’ Justice Society.  That’s it.  That’s the only negative thing I can come up with.  Get this book.  Go back to issue 1 and read the whole damn series.  It’s different.  It’s the book with heart in a sea of meatheads.

It looks like Johns agrees with my initial assessment.  A family audience is assumed in the issue’s final greeting:

‘From our family to yours, thanks for reading!’

No, Geoff, thanks for writing.