Category: Comics & Books


Review by C.J. Bunce

In the climax of Batman Volume 1: The Court of Owls, a battered Batman looks up and utters “…I am sick… to death… of owls!”  Me, too, I thought, after seven chapters of the first released hardcover of the New 52, written by Scott Snyder with pencils by Greg Capullo.  Hardly a page of the first seven issues of the rebooted Batman series does not include an owl, worked into the background or architecture or elsewhere.   There’s not a lot of subtlety to be found here.

Although I’d put David Peterson’s owl renderings in Mouse Guard up against Capullo’s any day, Capullo does a nice job of working owls into the story.  In fact his art and the overall look of this hardcover puts it in the camp of prior trade compilations like Batman: The Cult.  It certainly surpasses Grant Morrison and David McKean’s equally dark Arkham Asylum in both story and art.  That said, it fails to achieve the excitement, fun, and energy of Jeph Loeb and Jim Lee’s Batman: Hush or Alan Moore and Brian Bolland’s Batman: The Killing Joke, or the mythology of Batman found in Frank Miller’s Batman: Year One.  If you like your Batman not only dark but flawed, making as many bad decisions as good, and you’re tired of the recycled pantheon of Bat-villains, this book may be for you.  Unfortunately, the twists and excellent execution of story found in Issue #1 of this Batman series didn’t hold out, the owl-villainy doesn’t match the classic bat-villains, and so the series became monotonous and tired by Issue #7 for this reader.

I haven’t seen a lot of continuity of story presentation across the New 52 titles.  But of all the titles I’d hoped for more origin of Batman than is peppered in flashback through the first seven chapters of this compilation.  Had The Court of Owls been a story arc in a normal year of Batman stories, I may have actually appreciated it more.  But as part of a launch that was to allow new readers to enter and understand the series, I think this series doesn’t make any headway.  That said, what’s there really to understand?  It’s just Batman, right?  As the leading title of DC Comics, I think despite its great sales, the story doesn’t have broad appeal.  Why is everyone reading it then?  With all the Bat-titles in the reboot, this series started out as the best and is probably considered the best, but we’re all not just waiting for another good Batman story, we want another great Batman story and we’re willing to keep coming back until we get it.

The hook of the owl as a creature of night who eats bats as a visual or storytelling concept would have worked for me for an issue or two.  Today DC Comics have The Court of Owls - Night of the Owls story permeating throughout the DC New 52 titles as a crossover event.  What is the Court of Owls?  It’s a bit like an evil version of the Brotherhood of the Cruciform Sword from Indiana Jones and the Last Crusade, mixed with the Masons as revealed in the National Treasure series, and a chemical reaction that allows humans to be immortal.  Despite all the years of Bruce Wayne exploring and building out a batcave, and his long understanding of Gotham City as his city, suddenly we readers are introduced to a concept never before even hinted at, and a mention that… oh, yeah, Bruce Wayne tried to hunt down the Court of Owls as a kid and ultimately came to the realization they did not exist.  The problem is, unlike the Brotherhood of the Cruciform Sword’s noble cause, we are given no motivation for the Court’s evil doings.  They’re just bad guys.  If you had this much power, would you live like these masked ghouls under Gotham or would you live the high life?

That said, there is a lot to like in this series.  Snyder’s use of modern technology to assist Batman is well placed. Dick Grayson’s Nightwing has hardly been better as Batman’s sidekick, including a brilliant turn as Joker to fool the inmates of Arkham Asylum.  The entire supporting cast, although hardly used, have nice moments, including Tim Drake, Commissioner Gordon and even Alfred.   Capullo’s art is as good as any of Jim Lee’s best Batman work.  Capullo and Snyder both are obviously passionate about creating a complex Bat-tale, and for that, the book is worth a second read.  With that second read, more plotted foreshadowing can be found.  The Court of Owls was clearly not an easy tale to construct, both from a story concept or visually.  And as a starting point, Issue #1 is one of the best issues of Batman you’ll ever read.  If you like Batman in a chamber of horrors, Snyder and Capullo’s vision has the feel of the crazy masked club of Stanley Kubrick’s Eyes Wide ShutUnfortunately I just didn’t find the arc compelling enough to keep me hooked for all seven issues.

Batman: The Court of Owlsseems to borrow a bit from Jim Starlin and Bernie Wrightson’s Batman: The Cult in story and look.  Capullo’s depictions of a tortured Batman are equal to the horror and drama depicted in Bernie Wrightson’s panels in The Cult.  That’s high praise for Capullo as Wrightson’s work on The Cult was nicely done.  But I was never fond of Batman being duped and sucked into the villain’s world, or portrayed as less than genius, and even allowed to be beaten to a pulp.  All that happened in both Batman: The Cult and Batman: The Court of Owls This is why I found myself on the side of Nightwing in the sparring between the two–and I am not typically a fan of Nightwing.  I prefer my Bat-story to show Batman in the shadows more, as the detective who doesn’t become emotional or fall for the villains’ traps like the Batman of the camp 1960s TV series.  Finally, I was distracted by how much the Court’s henchman Talon looked like Watchmen’s cool hero Nite Owl.

Nite Owl from Watchmen.

A big plus of this hardcover edition can be found at the back of the book.  Snyder’s script for issues #1 and Capullo’s pencil roughs that accompany that story reveal some of their creative process, which I always love to see.  And along with Greg Capullo’s superb cover art (it’s great when a publisher allows the interior penciller to also create the cover art!), the appendix also includes full page color images of the alternate, incentive covers.

If you want to give Batman: The Court of Owls a try, it is now available at local comic book stores and online.

By C.J. Bunce

Eclipsing the highly anticipated live action summer release The Dark Knight Rises, The Dark Knight Returns is up next.  An animated adaptation of Frank Miller’s 1986 seminal dystopian look at Batman is being produced by Warner Premiere/DC Comics Premiere Movies.

The news is somewhat bittersweet for diehard The Dark Knight Returns fans.  On the one hand, any well-done video adaptation would be a welcome sight.  That said, until we see a live action version of this major graphic novel, anything else is just something less than the potential that this property could realize in both viewers and revenues for DC.  Until we see Warner and DC Comics put this work on the big screen, we can’t get too excited here.

Providing the voice for the grim and hardened Batman is Peter Weller, who has been in several TV shows and movies, such as guest roles on House, M.D., Psych, Dexter, Fringe, Monk, 24, Star Trek: Enterprise, and key roles in the films Screamers, Leviathan, Buckaroo Bonzai, and of course, Robocop. It’s too bad this isn’t live action, as Weller’s great Robocop jaw could pull off the look of a 50-something Bruce Wayne.

This should be a good year for Weller, who also has an as yet-undisclosed role in the new Star Trek movie. And a resurgence of Robocop in light of a new big screen remake announced here previously should also shine a light on the original borg police officer.

Ariel Winter (Modern Family) will voice Robin, with Wade Williams (Prison Break) as Harvey Dent/Two-Face, and genre favorite Michael McKean (This is Spinal Tap, Homeland, Smallville, Sesame Street, The X-Files, Star Trek Voyager, Saturday Night Live, Coneheads, Memoirs of an Invisible Man, Clue), expected to portray the doctor from Arkham Asylum, and David Selby, likely to portray one of the villains.  (We hear Mckean got hit by a car this week, so we all hope he recovers quickly).

What should be highly anticipated, and has not yet been released, are the voice actors who will portray the key guest appearances in Frank Miller’s novel: Alfred Pennyworth, the Joker, Superman, and Green Arrow.  I’d expect some key voice actors for the various newscasters, too, assuming this film follows the original’s focus on economic turmoil and 1980s excess.

Fans of the animated Batman: Year One, released last year, may appreciate this new animated feature the most.  The plan is for The Dark Knight Returns to be released on two parts, the first by year end and the second in early 2013.  Unfortunately it is also direct to video—so you won’t find this one at a theater unless Warner gives a preview at the San Diego Comic-Con this year as they did with Batman: Year One last year.  The first photos released yesterday really don’t seem to grab Frank Miller’s rugged style, so hopefully the actual release is able to attain some of that from the original sourcework.

Bob Goodman (Batman: The Animated Series, Superman: The Animated Series, Justice League, Static Shock) is writing the script for the film.  Storyboard artist and animation director Jay Oliva is directing.

Review by C.J. Bunce

A lot can be said for the DC Comics New 52 reboot, and without re-hashing every bit of that for the umpteenth time, one single high note comes to mind.  With so many #1 titles, with stories starting for the most part from scratch, it allows anyone to become a new reader, anyone to become a fan of something they weren’t a fan of before.

Oddly enough, when DC Comics said that they would have 52 titles, I actually believed them.  I am glad they didn’t stick with that approach.  Several books have been layered into the New 52, some relevant, some not.  Titles like Batman Incorporated and Huntress.  Another title I was surprised to see was Smallville: Season 11.  And I am surprised it is a good series adaptation.

Smallville, the TV series, at its high point had millions of fans.  Over its incredible ten-year run on the CW Network, it boasted both comic book fans and a mainstream audience.  It never grabbed me, but once in a while I’d watch an episode and could see the appeal.  As TV series are concerned, my preference was the earlier, slightly different but still similar Lois and Clark TV series.  That series featured Teri Hatcher as Lois Lane and Dean Cain as Clark Kent, and–one big difference from Smallville–Clark donning the Superman suit and cape.  Although I really liked Tom Welling in the remake of John Carpenter’s The Fog, it’s probably that distinction that kept me away from Smallville.

Smallville: Season 11 gives fans of the TV series Tom Welling finally portraying Superman, in the suit, and continues the story of the characters where the series left off.  This works like the Buffy the Vampire Slayer Season 8, etc. series–so long as every other panel is drawn to look like the actors who played the characters on TV, this can work.  It actually works really well with Smallville Issue #1.

Writer Brian Q. Miller knows the characters enough to make you feel like you’re watching the show, with snappy dialogue and a relevant story.  He should, as he wrote for the TV series.  The banter between Clark and Lois is likely the best part of the first issue, with Lois as a particularly funny character.  Pere Perez’s renderings aren’t picture perfect but he often nails the actors’ appearances and their roles, enough so that Smallville: Season 11 Issue #1 hits all its marks as you’d hope.  Perez gives readers several good splash pages of Welling as Superman.  Better yet, Miller and Perez give a substantial part of the story to Oliver Queen/Green Arrow and his wife Chloe Sullivan-Queen.  Here the differences between Smallville and the New 52 series are obvious, including the fact Oliver is married, confirming Smallville as a parallel universe story in the DCU.   As much as I know diehard Superman fans love the current Action Comics series, by comparison I found Smallville: Season 11 Issue #1 more interesting than Action Comics Issue #1.  I was also surprised I prefer the Justin Hartley-influenced Green Arrow look, vibe, and story in Smallville to the current New 52 Green Arrow series.

At a dense 33 pages, including an alternate cover image and recap of the TV series season 1, with Smallville: Season 11 you’ll for once feel like you got your money’s worth.

Review by C.J. Bunce

Put aside the hurricane that was 2012′s New 52 reboot from DC Comics, and one year ago if someone would have said that Barbara Gordon would have her own solo title again as Batgirl, and a successful title at that, most DC fans would have had doubts. Then with the announcement that Gail Simone was giving Barbara the use of her legs again, add controversy to those doubts.  Batgirl had an uphill climb, but with the changes DC had previewed before the launch, it also became the title causing the most curiosity for readers.  How would they give her back the use of her legs?  Where would she fit into the new DC universe?

If you haven’t read Batgirl, the first six issues of the groundbreaking DC series will be reprinted in a hardcover edition this July, titled Batgirl Vol. 1: The Darkest Reflection.  With 52 graphic novels coming out over the next few months, most readers will be selective about which to seek out.  Batgirl is one of the keepers.

Where Batgirl really soared in this story arc begins with the cover work by Adam Hughes.  One of the artists whose superheroine work is in a small league of the very best, his style conjures up a 1940s aesthetic, and his colors scream retro.  His Batgirl may very well be the best ever rendered, including when compared to the stunning Alex Ross revamped version that Hughes seems to work from.  If only he had the schedule to draw the entire book!  That said, Indonesian artist Ardian Syaf has developed his own style with Batgirl’s ongoing story as the interior artist on the series.  Syaf’s style is expressive and his action sequences are fluid and powerful.  If Hughes makes Batgirl look both innocent and beautiful, Syaf rounds out her character by showing her as feisty and wily.

From the beginning, writer Gail Simone proved she knew her character.  The new Barbara was funny and endearing from the first page.  She shares her inner voice with us to contrast with her Batgirl-costumed exterior.  We didn’t know what will come of it, but she found an inquisitive roommate and a place she could afford to rent.  Her inner voice always determined, she forced herself to be confident, even though we sensed a lot of doubt in her about her abilities.  She’s young, but not too young.  She is a straight arrow, not gritty and also thankfully not vapid.  She is successful, but she’s nervous.

Chapter 1 of the story arc begins with Barbara already away from her wheelchair and already crime fighting.  Is it too soon?  She questions herself, and she indeed makes her first mistakes.  And she never forgets the crime by the Joker that left her in the chair in the first place.  Barbara’s foe in the first round is a baddie who is called the Mirror, a grim reaper type who carries a list of the soon-to-be-dead around as a checklist.  She gets knocked down.  She gets right back up.  She makes mistakes.  She tries to recover from her mistakes—both the long-term lesson learning variety and the instant kind–a bad kick or punch here or there.  With a quick-moving story line her decisions are split-second choices.  She has no choice, she must be focused.  Having the use of her legs return only in the past several months, all indications are that this heroine is engaging in the secret crime fighting gig too soon.  This is the theme of her character’s growth.

Chapter 2 of Batgirl helps readers understand Batgirl’s Gotham City.  We see real-life reflected here, or at least the over-development, economic strife and questionable priorities that make Gotham the worst of what is real in any society. We also see a microcosm of the individual, living the single life, trying to get through the mundane tasks of daily life.  Barbara Gordon is a poster girl for the individual in the big world. Like all of us, she is forging ahead.  Writer Gail Simone continued in this chapter to deliver the satisfying and snappy, Buffy-esque dialogue, that reminds us we’re talking about Batgirl here.  What stayed strong throughout the entire arc is the first person narrative, in the same style as Batman from Jeph Loeb in Batman: Hush.  She smartly comes off as the almost-Batman.  Batgirl’s positive outlook is counter-balanced with a well-constructed bad guy.

A weaker part of the story arc is Chapter 3, which had a lot to live up to considering the work on Issues #1 and #2.  For the first section, Barbara Gordon became a bit of Sandra Bullock in Speed, in a psycho-orchestrated opportunity to save a train from a bomb. For the second, she had some awkward catching up to do with dad, Commissioner Gordon.  For section three, she goes to pick up her Batcycle, which had been impounded in Chapter 1.  There she runs into Dick Grayson-formerly-known-as-Robin-who-then-became-Nightwing-then-Batman-and-now-he’s-Nightwing-again.  And an old, teen romance is rekindled, veiled as an effort by the Bat-team to get Barbara to dial back on the dangerous derring-do.  Barbara gives in a bit, but ultimately recoils into that comic book cliché of the superhero—“I just want to be alone.”  It’s not a bad follow-up to Issues #1 and 2, but the obligatory romance issue just seemed a bit too soon for the series.  Unfaltering is the visuals–Batgirl is both agile and tough balanced with naiveté and some real street smarts, and we know this from how she is drawn on every panel by artist Syaf.

Chapter 4 finds Barbara continuing to have nightmares that she reads as survivor’s guilt.  She has a heart to heart conversation with her roommate finally, but Barbara remains at a distance.  Her escape is to continue the pursuit of the Mirror.  In that, she uses her confusion and anger to take on a stronger opponent.  But she also uses the events of the day to develop her own strategy.  This allows her to try again with her roommate.  In the end she is visited by a ghost from her distant past.

We meet a new villain in Chapter 5, Gretel, who is able to make others act as she wishes through hypnotic suggestion.  This leaves her victims and the tools of her actions mumbling the number 338.  As Barbara attempts to sleuth out what 338 means, she must also deal with the return of her mother, who walked out on her, her little brother, and her father, Commissioner Gordon, when she was young.  As she ponders what is behind Gretel, she believes Bruce Wayne may be the next target of this new villain.  As she tries to save him, it appears Bruce has also fallen for Gretel’s hypnosis.

The final chapter ties up all the loose ends.  Gretel is not a one-note villain, but instead a mirror of sorts of Barbara.  Batgirl must capture Gretel, but she learns from her past, and instead of going after her alone, she smartly shares her information with Bruce.  In a  partnership with Batman, we even get to see Barbara as the main partner of the ad hoc duo in the scheme to take down Gretel.  Was Bruce really under Gretel’s spell?  The payoff for Batgirl fans is great.  For readers of the collected edition, the entire six chapter story also works as a complete piece, not simply the typical assemblage of six sequential comic books.

DC’s female superhero characters continue to flourish 9 months after the big launch.  Batgirl’s story bridges a lot of territory–she is a superhero with a rich past in the DCU: as daughter to Batman’s main partner in fighting crime, Commissioner Gordon, as the former crime fighter in a wheelchair called Oracle and member of the Birds of Prey, she carved out a niche for herself as the younger side of hero work and the trials of being at the beginning of a heroine’s career.  There is a reason we have a Batwoman and a Batgirl.  Gail Simone made sure Batgirl gets the respect she deserves but does not forget that she is and should be all about being a girl, and being a girl–as opposed to being a woman or a man or a boy–creates its own advantages for both the character and for storytelling.

Batgirl Vol. 1: The Darkest Reflection is available July 17 at comic book stores and discounted pre-order now online.

As the #1 Green Arrow fan around, I’ve just got to say I was blown away by the first trailer for Arrow, just greenlighted for the Fall season on the CW Network.  If I can’t have the TV series that I see in my mind, then I’m glad the one that is actually getting to the screen looks this good.  For the first time since the Flash TV series DC Comics is expanding its cinematic reach with a focus beyond the tier 1 Justice League superheroes.  Arrow very well could be DC Comics’ first step toward a future Justice League movie that could try to compete with the enormously successful new multi-superhero Avengers movie.

Check out this great first look at the series:

Stephen Amell looks like a good choice for a young Oliver Queen.  And out of nowhere one of the best genre actors around shows up–Paul Blackthorne–Harry Dresden himself from Jim Butcher’s Dresden Files.  Blackthorne, who was one of our top picks last year for the next James Bond, appears to be the second lead actor featured in the series, girlfriend Dinah Lance’s father, the man trying to find out who is behind the vigilante hero called Green Arrow.

As expected, the series is taking a Green Arrow: Year One approach, and Amell looks every bit the marooned Oliver Queen from artist Jock‘s visionary mini-series.  Amell is also reminiscent of artist Phil Hester’s initial Green Arrow tales written byKevin Smith, showing a shaggy bearded version of Ollie.

This second teaser focuses more on Oliver Queen, and gives us a look at Amell and how he plans to portray the character:

Nice arrow work with the tennis ball scene–a great idea for showing his skill.  And the cinematography doesn’t feel like the normal CW soap opera series we’re used to seeing.  I hope that trait carries through to the final product.

And check out his mini-Batcave-like retreat!  No question–I for one am looking forward now to this dark superhero series more than the new The Dark Knight Rises movie.

Finally, this mini-preview is a great snapshot of the show:

I initially didn’t care for the title, but the logo they are using with the target looks great.

Arrow stars Stephen Amell as Oliver Queen, Colin Donnell as Tommy, Katie Cassidy as Laurel Lance, David Ramsey as John Diggle, Willa Holland as Thea Queen, with Susanna Thompson as Moira Queen and Paul Blackthorne as Detective Quentin Lance.  Based on the characters appearing in DC Comics, Arrow is from Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (Green Lantern), Marc Guggenheim (FlashForward, Eli Stone), Andrew Kreisberg (Warehouse 13, The Vampire Diaries) and David Nutter (Smallville, Supernatural, Game of Thrones).  Melissa Kellner Berman (Eli Stone) is co-executive producer.  The pilot was directed by David Nutter from a teleplay by Andrew Kreisberg & Marc Guggenheim, story by Greg Berlanti & Marc Guggenheim.

Arrow will begin airing on Wednesday nights at 8 pm on the CW Network this Fall.

C.J. Bunce

Editor

borg.com

By Jason McClain (@JTorreyMcClain)

I’ve gotten in and out of reading comic books several times in my life.  I couldn’t tell you where the comic book store was when I lived in Columbia, MO.  I found one when I lived in Delaware.  There wasn’t one for miles when I lived in the mountains (but I found a baseball card shop).  I knew of and visited at least six comic book stores when I lived in Kansas City and I visit about the same number in Los Angeles.  I’ve visited them when I’ve made brief stops in London, England and Austin, Texas.  I had subscriptions to several Marvel titles when I was in junior high and didn’t have to worry about getting my parents to take me to the comic store.  One day a comic would arrive in my mailbox covered in the plain brown paper wrapping that I would later associate closely with either comics or porn.

A map of comic book stores across the U.S.

Still, every walk into a store is like a step into a colorful, inedible candy shop and I start to wonder, what I’m going to take home in my brown paper bag.  I like recommendations quite a bit when I look for new things (and that’s why on Free Comic Book Day as I went to a few of my favorite stores, I picked up All-Star Western and Justice League Dark) but since my time in Kansas City, my main focus for when I look on the shelves of whichever store I find myself in, is new material by past favorite authors.  That’s why on Free Comic Book Day I also picked up Saga by Brian K. Vaughan, who has entertained me in several stories like Pride of Baghdad, Runaways and Y: The Last Man.  Saga looks to be a great start to another captivating yarn as I ripped through both issues I bought as I curled up to relax on Sunday night.

However, I must ask myself, is using the past a logical way to pursue entertainment?  Are past performances indicative of future returns, unlike financial instruments?  How can you tell when to jump off the creative train of a favorite author?

This reminds me of a game a friend and I play every now again based on the Fellini movie, 8 1/2.  The film deals with the creative process and my friend and I used it as a jumping off point to analyze the careers of creative people by asking, “Does X have eight unarguable classics to their name?”

It’s tougher than you think.  To be able to create eight works of art is an accomplishment in and of itself, and to make eight super-duper terrific things, well, that’s a rarefied air.  Of course, everyone has a different opinion of what a “classic” is, but we generally know that Jaws and Raiders of the Lost Ark are both Steven Spielberg classics, where War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull don’t come close to reaching the same height.  Even though I’m not a huge Spielberg fan, he gets to eight relatively easily as you could add E.T., Close Encounters of the Third Kind, Schindler’s List, Saving Private Ryan and Catch Me if You Can to Jaws and Raiders and you get seven, though there are a few flaws, but I quibble.  Finding an eighth movie among The Color Purple, Indiana Jones and the Last Crusade, Munich and Jurassic Park should be easy.  George Lucas on the other hand, I think he’s lucky to get two.  I suppose I’m saying that at this point, going to see a Spielberg film may be a bit more of a question mark than it was in the 90s, but if you gave me a choice between Spielberg and Lucas right now, there’s no question I would choose to see a Spielberg film.

Looking at my favorite movies over the past few years, Midnight in Paris has reinvigorated my belief in Woody Allen and I’m more likely to see his next film.  The quality of Marvel’s movies Thor, Captain America and The Avengers makes me more likely to go see non-sequels put out by Marvel Studios.  (Iron Man 2 still leaves a poor taste in my mouth. That’s what I get for licking the screen).  True Grit cemented my love of the Coen brothers, which I had before the movie as I’ve seen every one of their films.

My point?  If you like the creative work of a person, you’ll probably like their other work.  Looking at my bookshelf filled with several novels from Kurt Vonnegut, quite a few selections from Alan Moore and most every film by Wes Anderson, I probably didn’t need to do much thinking about it.  Still, it’s nice to come to that conclusion and know that when I roll into a comic store, I can find some Brian Michael Bendis, some Matt Fraction, some J. Michael Straczynski, some Neil Gaiman, some Jason, some Craig Thompson, some Daniel Clowes, some Kurt Busiek or many others and be happy when I get home, turn on the lamp and snuggle beneath my covers.  Plus, there’s always a chance I can stumble onto many more authors in the future through sheer luck, the recommendations of friends or the recommendations of the people I meet while wandering the aisles at my local comic book stores.

Review by C.J. Bunce

Every twenty years or so, some intrepid editor or assistant editor rummages through the files at DCHQ only to stumble upon an old comic book featuring the H-Dial.  And with a loud poof it becomes another attempt to revive a strange and cartoonish concept, a dial with symbols or letters and numbers.  When the finder dials the right order of symbols or letters, the dial transforms the dialler into a superhero–usually a strange superhero we’re never encountered anywhere before.

First seen the House of Mystery and later featured as secondary stories throughout Adventure Comics and other titles and featured as its own title starting in 2003 that lasted 22 issues, titled H.E.R.O., the H-Dial is a short story writer’s dream.  What Quantum Leap did with Sam Beckett, only the holder of the H-Dial gets powers to help solve an immediate problem (usually).  The result should be an unlimited source of stories for short-lived superheroes and their powers.

Like the headpiece to the Staff of Ra, the H-Dial carries its own brand of mystery.  We have never learned the story behind its origin, or how many H-Dials are circulating the past and present of this or any parallel Earths.

Clever gimmicks have often accompanied the H-Dial.  In Adventure Comics in the 1980s, Marv Wolfman and Carmine Infantino created a way for readers to create new heroes to appear in issues of the comic book–an early interactive way of engaging readers.

The longest user of the dialler was Robby Reed.  He has appeared from the 1960s to the past decade in full stories and cameos with the dial.  In the New 52 series titled simply Dial H, we find in Issue #1 the new finder of the H-Dial is a young guy named Nelson, who, visually, seems a bit like Hurley from the TV series Lost.  Nelson finds the dial and uses it to try to help his friend, creating two superheroes with the device: Boy Chimney, who can travel on smoke and do who knows what that a… um… chimney and smoke would do to stop bad guys, and Captain Lachyrmose, who makes people sad and gets more powerful through other people’s sadness.

These two first uses of the H-Dial sort of fall with a thud.  The ideas are bizarre, which can be a good thing when done the right way.  But first-time comic book writer China Mieville’s dialogue is clunky.  We cannot tell what accent his friend has–is he suppoed to have some accent or does he intentionally speak a little strangely?  If he is supposed to be of some ethnic group, then artist Mateus Santolouco isn’t clear enough of what we’re supposed to think.  It doesn’t matter to the story, but it’s just a bit difficult to understand what these friends are saying to each other.  Example: “Please excuse me while screw you… just damn luck there was no damage this time.”

That said, for the most part, Santolouco does a very good job of creating bizarre images to fit Mieville’s story.  His characters are creepy and this book does fall into the “Dark” line of DC’s New 52 series.  It’s just unortunate the story is difficult to follow.

As a fan of the concept and a reader of the Adventure Comics issues featuring the H-Dial and the 2003 H.E.R.O. series, I will give Dial H a few more issues to hook me.

I’ll take a tangent for a minute and mention what DC Comics didn’t do on this round that I think would be more fun.  In this world of reality TV, as DC featured as a device in the first issues of the New 52 Green Arrow series, Dial H is the perfect venue to try some new things.  Why not have readers submit stories on some type of Dial H blog?  Why not have DC Comics’ whole pantheon of writers and artists each get a crack at developing a story within the pages of Dial H, much like Top Cow did with the Eisner nominated mini-series Common Grounds?  I’ll stop there because I’m not a fan of people reviewing what they want to see instead of what is offered by a creator.  But I do think there are unlimited stories to be told with a device like the H-Dial, and I hope Mieville, once he gets his sea legs in his new medium, takes full advantage of the opportunity.

Review by C.J. Bunce

We reported earlier about the replacement of certain New 52 DC Comics titles that were launched last fall.  Men of War was one of those titles on the cancellation list.  If nothing else, low readership begs the question of whether war titles have a shot in the current state of the world.

Since the 1970s war titles seem to have had a rough time staying alive.  I am not sure how much of it relates to the topic of war as opposed to the spark of great storytelling grabbing and keeping readers.  Back in the 1980s I read Marvel Comics’ The ‘Nam series during Michael Golden’s stint as artist.  The ‘Nam was a success by any measure, surviving for seven years.  The stories were gritty and well done–they dealt with the daily trials of the foot soldier–and they survived almost miraculously despite dealing with no issues about drugs, and had no profanity because of the Comics Code.  They barely discussed the politics of the day, too.  But despite that, good stories caused readers to keep reading.

I also think readers will read anything good, regardless of genre category, and most regular comic book readers won’t shy away from any genre regardless of the subject, here “war comics”.  That said, I read Men of War and it didn’t work for me.  I think Issue #1 just featured too much action, too much sergeants yelling and the stereotypical movie “gung ho” vibe, and not enough character building.  Basically we saw a descendant of the classic Sergeant Rock of decades past himself become sergeant in today’s world.  It actually reminded me of the 1960s black and white TV series Combat!  an ongoing series of the daily trials of men at war.  The Sergeant Rock story was followed by a Navy Seals story, including an ending featuring a baddie who shockingly uses a woman as a shield.  The stuff of real-life war and the evening news.  If you like reality in comics then you may have liked that series.  If you see comics as escapism, well, this was perhaps not the best place to find it.

So last week saw the launch of G.I. Combat, as part of the New 52 Second Wave, which included both an ongoing G.I. Combat story and a second story reviving the unknowable super-soldier, the Unknown Soldier, a character derived in part from from the tomb of the same name in Washington, DC.  The character the Unknown Soldier has been around in various series for years at DC Comics, and he sees a short resurgence from time to time.

The first issue of G.I. Combat works for three reasons.

First, JT Krul and Ariel Olivetti sort of cheat here, because they added bacon.  I’ll explain.  If you ever watch competitive food shows like Top Chef or The Next Food Network Star, you often see judges jokingly tell contestants they cheated because they added bacon to a dish that may not have otherwise succeeded.  Here, the bacon is dinosaurs.  That’s right–if you can’t make your war comic succeed, throw in dinosaurs.  After all, who doesn’t like dinosaurs?  Frank Cho has been gearing up to release his own topic on the very same subject, Guns & Dinos, and his Shanna series also had military group taking on dinosaurs.  It’s hard to miss when you mix these together.

The alternate/incentive cover to Issue 1.

But to be fair, the second reason is the book works on its own merits.  JT Krul’s story is good, and Ariel Olivetti’s painterly style is just superb.  The story, “The War That Time Forgot” begins with a secret corps soldier on a live video chat with his wife.  The immediate focus on the personal creates a character that hooks the reader in quickly.  Scenes of the soldiers on an expected routine mission that ends up with pterodactyls surprisingly works, too.  Argentine artist Olivetti may be the next artist to keep an eye on.  You can see both some Adam Hughes and Mauro Cascioli in his work.  In fact, Olivetti has referred to fellow Argentine Cascioli, one of our favorites artists here at borg.com, as an influence on his style.

Some of Ariel Olivetti’s art from GI Combat.

The second story, “The Unknown Soldier” is also well written and well drawn.  I’m a little biased, however, as Justin Gray and Jimmy Palmiotti, the writers on the second story, are also my favorite current comic book writing team, telling the adventures of Jonah Hex and Amadeus Arkham in DC’s All-Star Western.  Dan Panosian’s panels are classic Charlton Comics war images–the story just looks like a classic war series.

But my third reason to like the book comes from the Unknown Soldier story.  Gray and Palmiotti’s hero is the type of timeless war hero that you would see played in the movies by John Wayne or Arnold Schwartzenegger.  A phoenix of sorts, this soldier is strong and he is a survivor, something everyone wants in a soldier story.

Since there are apparently no real rules to building a successful new war comic, maybe expanding readers’ preconception as to what a war comic is will be the ticket to a successful ongoing series.

By C.J. Bunce

We highlight them all the time here at borg.com.  But some of them don’t naturally come to mind when you think of cybernetically enhanced organisms–cyborgs, or borgs for short.  What makes a borg?  An organism, human, alien, or animal, who has been modified by technology or uses technology as part of or in place of another biological function.  We use this broadly, encompassing not only a long-accepted group of borgs that are more metal than man, but also robots or androids modified with biology or biomatter, although taken to the extreme this would seem to include the bioneural starship USS Voyager from Star Trek Voyager.

Regardless of how you define it, meet our borg.com Hall of Fame, always ready for new honorees…

With Marvel’s big premiere of Joss Whedon’s The Avengers, we’ll begin with Tony Stark’s Iron Man.  Tony Stark is not advertised as a borg, but if your power source involves techno-gadgetry via an arc reactor and you have his fully integrated armor, we think that makes you a borg.  Whedon is very familiar with borgs, having created the character Adam, the nasty, almost unstoppable foe of the Scooby Gang in Whedon’s Buffy the Vampire Slayer.

If Iron Man is a borg, should one of the oldest creatures of science fiction be considered a borg as well–Frankenstein’s monster?  How integral are those bolts and attachments to his survival anyway?  Does an external power source make a borg?  Did he ever have to regenerate?

And if Frankenstein’s monster makes the cut, maybe this spin-off fellow should, too:

Yes, Frankenberry, the only cereal mascot borg?  Are those pressure gauges on his head?  What functions do they serve?  Before we move forward very far in time, we also think we need to at least consider Maria’s doppelganger from Fritz Lang’s sci-fi film classic Metropolis as a possible borg.com honoree–a robot admittedly, but somehow transformed into a humanoid creation with flesh, used to replace the real Maria and wreak havoc across Metropolis:

From one of the biggest science fantasy franchises, Star Wars, Darth Vader began as Anakin Skywalker, but through his own rise to evil and subsequent downfall he became more machine than man:

He even caused his son to require borg technology by slicing off his arm and hand with his lightsaber, making Luke Skywalker a borg as well:

With Star Wars Episode III: Revenge of the Sith, we met an interesting new villain, General Grievous, a four-lightsaber wielding almost lobster-like biological creature made up of techno-armor and, in close-up are those reptilian eyes?  His apparent disfigurement and breathing problems hint at a back story that must be not unlike Vader’s.

In The Empire Strikes Back we also briefly met Lando Calrissian’s majordomo who possessed some type of brain adapter technology–we learn from action figures, trading cards and comics his name is Lobot:

And probably the very first cyborg to be referred to specifically as a “borg” (by Luke Skywalker, even), Valance was a cyborg bounty hunter in the early pages of Star Wars, the Marvel Comics series:

Some borgs are more cybernetic than organism, at least at first appearance.  This would include Doctor Who’s Cybermen:

and we’d learn even the Daleks were cybernetic organisms:

and the Terminators from the Terminator movie and Sarah Connor Chronicles TV series, very much more machine with a bit of organics (and even Arnold’s character called himself a “cybernetic organism”):

In Star Trek: First Contact the Borg Queen alters the android Lieutenant Commander Data in such a way so as to make Pinocchio a real boy:

giving real organic material to Data, (like Maria’s double above from Metropolis?) bringing him briefly into the realm of borg status, like Isaac Asimov’s Bicentennial Man:

and this even suggests the Tin Man from L. Frank Baum’s The Wizard of Oz may be a rudimentary variant borg being along the lines of Frankenstein’s monster:

All humanoids or aliens modified to become The Borg of the Star Trek franchise clearly are good examples of cyborg beings, the most famous of which are probably Patrick Stewart’s Locutus:

the seemingly innocent Hugh:

and Seven of Nine from Star Trek Voyager:

On Earth we encounter humans all the time with bodies improved by borg technology.  Because of the OSI Steve Austin and Jaime Sommers were rescued from near death with enhanced biology and appendages to become the Bionic Man and Bionic Woman:

The British agent James Bond had to take on Doctor No, an evil scientist who took on his own technological enhancements because of medical maladies, bringing James Bond into the fold of genre franchises investigating a borg character:

Featured in a 1980s movie series and soon to be the subject of a new movie, Robocop:

showed us a variant on Austin and Sommers, and a bit like Iron Man, we have the government creating technology to make super-humans, and here, a superhuman police officer.  This is taken even further, making three animals into borgs for military use in the Eisner-nominated comic book mini-series WE3:

 …a far darker take on the classic cartoon character Dynomutt from Scooby Doo:

Inspector Gadget:

and Doctor Octopus (Doc Ock) in Spider-man 2:

 

both were borgs that made it into big-screen films.

In the DC Comics universe we have a newer Justice League featured member Cyborg, a football player/student who is in the wrong place at the wrong time, when his father’s lab goes up in flames and his father uses his own research to save his son from death:

Before that, Frank Miller envisioned a disfigured future world Green Arrow who would need his own prosthetic cybernetic arm in The Dark Knight Returns:

Mr. Freeze was an early borg villain in the Batman series:

In Marvel Comics Rich Buckler created Deathlok the Demolisher, another cyborg creation, and one of the earliest borgs in comics:

Add to that Marvel characters like Ultron, the “living” automaton:

Ultron’s own creation, named Vision, the “synthezoid”–

and the borg called Cable:

In the 1990s Jim Lee created the Russian borg in the pages of X-Men called Omega Red:

Long before these Marvel characters the cyborgs Robotman and Robotdog graced the pages of DC Comics in the 1940s, and yes, they were not just robots:

The modern Cylons from the reboot Battlestar Galactica TV series are borgs in the Terminator sense, robots made to look and pass for human.  And there were a bunch, not just background, but named characters, the most famous of which was the seductive Number Six:

  

Years before, Philip K. Dick would create more than one borg character in his novels and short stories, revealed to us the best as the Replicants in Ridley Scott’s Blade Runner:

Several replicants appeared in the film:

 

…all indistinguishable from humans to the naked eye.

In the horror realm we have Ash, from Evil Dead and Army of Darkness, his arm a functioning chainsaw, and at least in the comic book, like the Star Trek borgs he has an interchangeable arm like a mega Swiss Army knife:

If we include Ash do we also need to include Cherry Darling from Planet Terror, since she has a rifle as a leg like Ash’s arm attachment?

Heck, even horrific camp troller Jason became a borg eventually in Jason X:

Todd MacFarlane’s Spawn comics had both the borg assassin Overtkill:

and the cybernetic gorilla Cy-Gor:

Speaking of borg beasties, even Japanese monster movies embraced borgs, having their hero Godzilla encounter Mechagodzilla:

and Gigan:

In the world of manga and anime we have Ghost in the Machine’s own borg girl Motoko Kusanagi:

leader of a group of borgs, and the villain Cell from Dragon Ball: 

Cowboy Bebop had the borg character Jet Black, which seems influenced by the design of Seven of Nine:

Akira had Tetsuo Shima:

And we have a new one to add to the list because of the film Prometheus, the creepy borg, David 8:

But he’s certainly not the first in Ridley Scott’s Alien universe.  Don’t forget Ian Holm’s Ash in Alien:

John Hurt’s Bishop from Aliens:

and Winona Ryder’s Annalee Call from Alien: Resurrection:

But these are just the biggest examples of borgs in popular genre works.  Countless books, comics and short stories have introduced other borg beings, not to mention every other new video game.   What will be the next borg to enter the mainstream, with a new TV show or movie?

Should we add an Honorable Mention list to the borg.com Borg Hall of Fame, for beings resulting from the merging of humans with cyberspace?  Think of characters like Tron and Flynn from Tron and Tron: Legacy?  Or Neo and Trinity & Co. from the Matrix movies?  You can argue some of the above in or out of the list, but we’ll be visiting most of them here now and then.

We’ll update this list from time to time and feature it as its own page on the borg.com home page.

Review by C.J. Bunce

Micro: A Novel is a solid footnote to the successful writing career of Michael Crichton.  It doesn’t approach Jurassic Park in terms of character and intrigue, but it would fairly line up alongside the likes of Terminal Man, The Andromeda Strain, Sphere, and Congo.  Crichton had completed only about one-third of the book when he died in 2008.  Richard Preston, author of fiction and the non-fiction work The Hot Zone, picked up the reins to complete the book, finally published in November 2011.

I am always incredibly curious to read a book featuring co-authors or a work finished or packaged posthumously.  Louis L’Amour died in 1988 and for years it seemed like his estate kept churning out books as if he were still writing.  In the first issues of Kevin Smith’s The Bionic Man, I was very interested in how much content came from Smith and how much from co-author Phil Hester.  With this final Crichton work, I initially spent more time thinking about structure and technique more than getting engrossed in the book, asking myself “Is this Crichton, or the imposter?”  This was true for me for the first third of the book.  At some point, however, I jumped in fully and went along for a fairly thrilling ride.  And if Crichton didn’t write it all, then Richard Preston was able to fake it very well.

The biggest hurdle in embracing Micro was the struggle for the reader’s suspension of disbelief.  In Jurassic Park, Crichton made readers believe that you could take dried mosquito blood from ancient amber, mix it with frog DNA and grow your own dinosaurs.  It was explained so simply so as to be believable without question, despite how impossible it would be to replicate in the real world.  It was harder for me to grasp the concept of taking humans and shrinking them to a half an inch tall.  Micro explains the science perhaps too briefly, taking from some apparently real-life experiment showing that magnetic fields acting on an object could shrink the object’s size.  Extrapolating that to organic beings of any size or complexity on any scale or scope that matters seems plainly absurd to me.  This despite the fact that “I want to believe” and am an open-minded science fiction reader, and despite any number of past suggestions in science fiction going back to The Incredible Shrinking Man, which might prime the open mind for such a possibility.  Didn’t The Fly teach us there were too many variables to consider to be able to make an experiment like this work?  It is that type of question, and the philosophy behind Crichton’s techno-thrillers, that are often as intriguing as the works themselves.

In Micro when a scientist criticizes another for being a vegetarian—he is written off with the pointed question, “how do you not know plants have feelings, too?”  Basically, end of story, vegetarians are illogical.  In the preface, quoting statements made by Crichton tied to this novel, Crichton seems critical of global warming theory.  We know from Jurassic Park that he embraced chaos theory and the science of complex systems.  We know from his work Prey that Crichton jabbed at believers of global warming, or at least those purporting to understand the puts and takes of global warming.  Here in Micro he implies that, because there are too many variables we can never understand nature.  Yet at the same time he tries to get readers to understand nature, and through his characters he suggests that if you do study nature you can use it to your advantage, to even save your life in the most crazy, unlikely, and perilous circumstances possible.  I am sure if you could only interview Crichton today he may be able to iron out this apparent ambiguity.  In the end, I think you can enjoy Micro as a thrill ride, but as an attempt at anything more serious, the piece doesn’t stand up.  If he believed that we can never fully understand nature, why spend any time researching nature, or why care about the characters in this book who do?

Like Crichton’s sequel to Jurassic Park, The Lost World, where Crichton seemed to switch from hard science in a way similar to Tom Clancy’s delving into every nuance behind the military-industrial complex (similarly, both sometimes ad nauseum), to a more instantly cinematic form of storytelling.  Micro, too, seems to be written directly for ready-made actors to jump into their roles for the impending Hollywood release.  Its ending is better than several of Crichton’s early works, where Crichton never seemed to know when to stop the story, or like Sphere, the story dazzled at first then drifted to boredom at the end.  Here the ending is full of catastrophe and skin-of-your-teeth, nick-of-time wrap-ups.  It all works as the stuff of a thin-science, romping summer blockbuster.  And it may work for readers who don’t ask too many questions.  Such as:

  • Can you safely carry people around in a plastic baggy?
  • Can you envision a vehicle that you can fit into your pocket?
  • Could you fly a plane that was an inch long across the entire island of Oahu and arrive at any intended destination, no matter how many times you tried?
  • Would the sheer terror of encountering bugs that were bigger than you not induce a heart attack or even slightly put you off kilter so as to not allow you to tap your immense knowledge of the science of beetles to think about ways to assemble poisons to be able to successfully eliminate the creature?
  • If your co-worker was held underground by a wasp as a prisoner, to be the wasp’s offspring’s lunch, would any human in any context feel sympathy for the offspring who was to be deprived of his lunch if your rescue succeeds? (As noble and naturalistic a thought this may be, I think terror would win out in any event).
  • At what percent of normal function could you function if your arm, as an example, was injected by a giant insect with its larvae, using you as a host?  Could you then fly a plane that you’d never seen before, or would you just freak out and cower in the corner, or beg your friend to cut off your arm?

The best part of all Crichton novels is the creation of a small think tank of a half dozen experts of distinct disciplines pulled together seemingly to research some project, only to realize their real purpose is to solve a difficult problem under unthinkable conditions.  Crichton creates these mini-universities where ideas can be shared, theories argued and defended.  The human condition—personalities, foibles, belief systems, behavior–always gets in the way, but never to the detriment of the entire operation.  Here we have seven graduate students, anxious to get their own deals post-grad with private industry.  Then Vin Drake, president of tech corporation Nanigen, comes along to recruit.  One of the students, Peter Jansen, has a brother Eric who already works there.  They all fly to the headquarters on the island of Oahu.  First Eric turns up dead, and in attempting a quickly and poorly thought plan to get an admission from the killer, the seven are sucked into the microverse and left to die in the woods.

Meanwhile enter a local detective, Police Lieutenant Dan Watanabe (my favorite character in the book), who is part Officer Gunderson from Fargo and part Marshal Gerard from The Fugitive, but would have been nicely played on the big screen by Jack Soo (Barney Miller), Kam Fong (Hawaii 5-0), or Kwan Hi Lim (Magnum, PI).  He’s getting misinformation about a group of bizarre deaths, and they all have one company in common.  The story works back and forth among Watanabe (just not enough for my taste), the seven students, and the villain of the story and his minions.  The ride has its moments.

To my surprise, what also becomes most “real” in the novel is what made Jurassic Park real for me—the shock and horror.  To this day the most vivid scene for me from any Crichton novel is when a character is hiding in Jurassic Park in some inner hallway in the dark after all the dinosaurs have escaped their pens.  Something moves past him and he doesn’t feel much or know what happened, until he reaches down to feel his intestines are in his hands, quickly and seemlessly slashed by some plotting raptor. Several of these gut-churning scenes abound in Micro, all involving the fleshy, oogy, gory, grizzly, and grotesque that would likely occur when encountering bugs head-on when they out-size you.  If anything, the encounters as concepts are predictable—get out a sheet of paper and write out every worst-case encounter you would have as an insect—as prey—and you will see each of those scenarios revealed as happening to one of the characters somewhere before the final page.  Horrific to be sure, but it’s that kind of thrill that makes you soar to the end to find out what happens to everyone.

The result is a book worthy of Crichton’s catalog, and an interesting last entry for those that have gobbled up everything else he had to offer.  Available everywhere books are sold.

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