DC Comics is bringing back Milestone Comics this year, or rather the characters from it. They got a fairly high profile reintroduction in JLA, which is getting a hardcover in October, and there are a series of trades coming out soon collecting issues of the old series. I’m not exactly clear on whether or not they will be collecting the full runs, but the trades are coming. Static Shock has already been announced, for example. I’m a little skeptical about it collecting what’s basically the beginning and the end of the series, but you know what? Both are really good stories, so that’s fine.

No, my problem is this. I’m starting a new weekly series tomorrow morning, and I’m prepping posts ahead of time. I wanted to see what trades were coming out for Milestone, as I’m only going to be showing off stuff you can actually buy in a store or on Amazon, so I popped over to dccomics.com to see what trades where coming.

Milestone Media is a fairly well-regarded institution. Its comics are fondly remembered, they broke a ton of industry talent, created a few fascinating breakthroughs in coloring, and DC obviously thought well enough of them to bring them back into the fold after a lengthy absence.

I’m not exactly asking for dccomics.com/milestone, though that is a great idea and should probably happen. But, if you’re doing this big relaunch of a specific property, why can’t I use the search to see what’s coming? I ended up searching by series and found two Static trades (Trial By Fire is out of print and Rebirth of Cool comes out in June) and one trade of Icon, which is out of print.

Some kind of microsite or something pointing the way to what Milestone is, what’s coming, and what’s come before would be nice. Even just the word “Milestone” in the descriptions would work, so that I could find these series via search.

C’mon, DC Comics. This is easy. Even better, holler at this guy, jazz it up some, turn it into dccomics.com/milestone, and throw him a few hundred bucks. The work is already done.

Why is the Faces of Evil series, which is a group of unconnected stories, share the same title, while the Battle For The Cowl series, which has a clear narrative running through it, be published under a bunch of different titles?

Gotham Gazette, Battle For The Cowl, Azrael, Commissioner Gordon, Oracle: The Cure – I’ll have to rifle through at least three of my longboxes to read it.

It’s enough to drive me to waiting for trades.

Oh, who am I kidding?  Like there’s a chance in hell that I’m not going to pick up a series about Barbara Gordon.

In the latest issues of Green Arrow, Ollie has a bushier mustache, a longer, curlier beard, and a darker attitude.  None of these new directions please me, but I’m a die-hard Ollie fan, so I forbear.

Ollie’s got a companion on his new, dark path.  It’s a girl who has a crush on him, and is proving her love by murdering his enemies.  She’s new enough that no one knows about her, so suspicion is falling on Ollie.  After a long talk with Dinah, he looks down in shame, and confesses, “Those men in the morgue.  My enemies.  Men who have sought to harm for money or revenge or to quiet the demons that sing to them.  They’ve caused so much damage, not just physically.  Emotionally . . . mentally . . . to this city.  To you.  To our family.  And I can’t help it.  I’m glad they’re dead.”

Dinah’s reaction is  a anguished look.

My reaction – well I had two.  The first reaction was that I have read every issue of Green Arrow since Ollie popped back to life, and quite a few before it, and if a guy named ‘Sling Shot’ caused physical, emotional, OR mental damage, I missed it.  The second reaction was, “Of course you’re glad they’re dead.”

Because, really Ollie?  Really?  You are still the Green Arrow, right?  You didn’t change your name to IsSorryBadPeopleAreDeadman when I wasn’t looking, did you?  GrievesForHisEnemies Avenger?  General Empathy?

Of course you’re glad they’re dead.  I know of people, people I have never met, people who have never done me any harm, that I would be happy to see dead.  I would never kill them.  I would never encourage anyone to kill them.  I would want their murderers, assuming they were murdered and didn’t just choke on their own bile, caught and punished.  But the fact that they were dead would put a spring in my step, and I won’t lie about that.  Call me Captain Schadenfreude if you like.

I would think that a man who has killed a few people himself wouldn’t sweat over understandable feelings of relief that cold-blooded killers wouldn’t be hunting him and his family anymore.  Anyone?

I’m putting this entry, shallow as it is, under a cut in case any of you don’t want to be even mildly spoiled for Battle For The Cowl. Read the rest of this entry �

For me, Huntress has always been one of DC’s least accessible characters.  It seemed like she was given half a helping of costume, two helpings of temper, and sent in whenever Batman needed to tell someone they had ‘crossed a line.’  Helena Bertinelli could kick, punch, toss off one-liners, and work with a cape, but she was more like a collection of behaviors than a person.

That’s why Huntress: Year One was such a pleasant surprise.  Though it is a Year One book, the mini-series follows Helena from childhood up through her assumption of the Huntress persona.  It examines her deep religious convictions, her time bouncing between mafia families after her parents are killed, and her instinctive feminism.  What emerges from these examinations is a young woman who  is surprisingly thoughtful, though still in possession of the smoldering anger that characterizes Huntress in regular continuity.

It’s the characterization of Huntress, and of those who inhabit her world, that makes this book really interesting.  Through Helena we meet various mob bosses, young heirs, mistresses, wives, and hangers-on, none of them boring.  Some surprise the reader only with the depths to which they will sink.  Others take unexpected turns.  All of them have a heft that’s unusual for comic-book characters.

Another strength of Huntress: Year Oneis its overt feminism.  Unlike most comics, Huntress doesn’t confine its feminism to a wronged woman beating up a sexist man.  It considers an adolescent’s first few quibbles with male authority and gendered language.  It explores the compromises made by women and men living in male-dominated social structures like the mafia.  And it takes a refreshingly unsentimental look at female victimhood.  This book doesn’t frame its victims as martyrs meant to set the plot in motion, or provocateurs who are complicit in their own suffering.  Nor does it imbue female suffering with any kind of glorification.  Victimhood is a shitty way to live, not an operatic finish to a pretty story.

The true test of a mini-series is if it leaves you wanting more, and Huntress did that for me.  The continuity would be tough to hammer out, of course, but in some ways continuing the comic would take fewer contrivances than a lot of other series.   The figures in Helena’s life are so fleshed out that they seem able to carry on the story simply by being themselves.

All six issues of the Huntress: Year One mini are out.  It is also available as a softcover trade paperback.

Saw it.  Liked it.  Was rather surprised at that.

At first I thought the style would knock me out of the picture.  I was wrong.  There were some sequences, especially at the beginning of the film, that made me roll my eyes when they started but turned out to be strangely affecting.

Also, I think that my earlier concern that the overall darkening tone of comic book movies would take the edge off of this one was incorrect.  Obviously, this would be more of a shock if it were compared to the early Superman movies instead of The Dark Knight.  But Watchmen isn’t so much about shocking us as it is showing us these wacky people with certain power levels and certain senses of responsibility, and never quite the right balance between the two.

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First off, check out the animated short Saturday Morning Watchmen if you haven’t already. Yes, yes, it’s Newgrounds. I don’t care. It’s quality. Check it out.

The new Watchmen movie is about to be released. I got my midnight IMAX tickets ready. Good or bad, it’s probably realistically the best we would ever get. Lord knows they’ve been trying to make it into a movie for years. It started back in the 80’s with a ridiculous script by Sam Hamm, the guy who gave us the Michael Keaton Batman movie. I haven’t read the whole thing, but I have read enough. The ending in the screenplay puts you in a facepalm frenzy by having Dr. Manhattan save the world by going back in time and negating his own origin. This causes the present to be undone so that Nite Owl, Silk Spectre and Rorschach end up in the real world.

That sounds painful. The movie had remained in limbo for years after. There seemed to be some movement in the mid-00’s, with David “Solid Snake” Hayter’s screenplay. Darren Aronofsky was set to direct. Alan Moore, though disagreeing with the concept of a Watchmen movie, still said that Hayter’s vision was the best and most faithful version he had read. Things were moving forward a bit, even with a Watchmen movie teaser site up for a little while. Then it just went away and the whole thing was scrapped for a couple years until being greenlit with another creative team and another screenplay.

But what of the David Hayter script? Was it any good? I’ve actually read it. A few years back, back when the wheels were still in motion, I got my hands on the script and read through it. Totally legit. I had written a list of all the differences between the book and Hayter’s stuff. With the movie coming out, I figured I’d just dust it off and repost it for you guys.

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Supergirl: Cosmic Adventures In the Eighth Grade was reviewed on this site a few months ago when the fist issue came out.  Conclusion:  funny, sly, and cute as a button.  Since then I’ve been reading the book and it has managed to keep all those descriptors accurate, despite having to pull off several difficult balancing acts.  The book has to fold in enough ancient continuity to make the long-term superfans happy while making sure the story is accessible to new readers.  It has to keep the language simple enough for young children without being dull for an adult reader.  And it has to make us laugh at the miseries of junior high while reminding us why we wouldn’t be dragged back there kicking, screaming, weeping, thrashing and begging for mercy.

At WonderCon, Landry Walker and Eric Jones spent most of their time signing and sketching at the SLG Comics booth or being mobbed during signing events for DC, but I managed to talk to them briefly about how Supergirl came about. Read the rest of this entry �

Alanna, my friend who made the GIF that should clearly show you why you shouldn’t be reading or buying comics by Greg Land, read Green Lantern from last week and, like a lot of really smart people (me), realized that something sucked. In her own words:

I really hate the Star Sapphire outfit. A lot, it’s a stupid outfit and a recent redesign, so someone looked at it in the last decade and thought it was a good idea, and that’s terrible. But I think I get the idea, the designer tried to make it a sexy costume to go with the whole love theme. It’s just that they just made it impractical (especially when you’re as endowed as most of the Star Sapphires) and completely ridiculous. Bits of the detailing are neat, but they’re completely overwhelmed by the rest.

I figured they’d look far better, or at least like a Corps worth taking seriously, if they’d put on something that isn’t a wardrobe malfunction waiting to happen. So I threw this together.

Alanna popped into Photoshop and sent over this:

Things I like about this:
-The black provides a great parallel to the uniform of the Green, Yellow, Red, and Orange Lanterns. Put simply, it makes the Star Sapphires actually look like a Corps, rather than a legion of space hookers.
-Black and violet goes together pretty well, and even gives the uniform something of a sinister look. The Sapphires are straight up brainwashing people into their corps, so this really works.
-Love doesn’t, and shouldn’t, equal sexy. Therefore, the Love Corps shouldn’t really be letting it all hang out. Isn’t a big part of love keeping it all your private bits limited to one person? Sexiness at least has an element of “Hey look at THESE,” but I’m pretty sure “love” as a concept requires a bit of discretion or discernment.
-It’s way better than the real uniform.

There were two things I learned at the DC Universe panel.

There is going to be a Batgirl book after Battle for the Cowl is over.

Cassandra Cain is not going to be ‘part of the batfamily’ after Battle for the Cowl is over.

I asked who was going to fill the cowl and was denied an answer, so I’ve compiled a list.

1.  Barbara Gordon:  Her upcoming series is titled ‘The Cure.’  Dan Didio has gone from flatly denying the idea that Babs would ever walk again to giving cagey answers like, “There’s a lot to be said for a Barbara Gordon Batgirl.”  I think I’ve made it no secret that I would love to see Barbara Gordon as Batgirl again.  But then, isn’t she just a bit old for the ‘girl’ title?  And since the position of Batwoman is filled at least up until the end of the JH Williams Batwoman book, there might not be a place for an adult Batgirl.

2.  Stephanie Brown:  What can I say?  I don’t give up hope. 

3.  Charlie Gage-Radcliffe:  After all, she adopted the title for a while, and Barbara took her under her wing.  But what’s more – It’s been a long time coming.  And let me say, there were times when I truly believed I would never see this day.  But at last, at long last, there might possibly be a heroine with a hyphenated last name in the Batbooks.  Stay strong, sister!  Make us proud!

4.  Cassandra Cain:  Because sometimes a DC editor can be the father of all liiiiiiiiiiiiiiiiiiiiiiiieeeees.

5.  Deathstroke:  He shows up in every book.  It was just a matter of time, really.