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A New Era Rises in Green Arrow

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Still no Diggle!? Why you do this to me Benjamin Percy, why?  In all serious I’m kidding, kind of.

With the start of new arc, it’s obvious we can’t get exactly everything we want. But I do appreciate that it was actually acknowledged that a lot of readers are waiting for this, so my thanks. Yet, I digress.

This new arc starts slowly, but with perfect pacing for a buildup that gives us a really suspenseful take into the current going-ons in Seattle (now dubbed by the Ninth Circle as Star City) and a look into Ollie’s past. With the start of this new storyline there are three things that I’m really looking forward to with Green Arrow: The Rise of Star City. Sorry Benjamin; I expect nothing but the best from you. The first being the most obvious: is Diggle working with or for the Ninth Circle and what happened to Merlyn? Second, what is their endgame? What is the ultimate goal? And lastly is what relevance will Roy’s return bring to this arc, Diggle obviously had his and Canary hers. I really have high hopes for this one.

For those just tuning in, the last arc saw Ollie leave Seattle in the midst of a heavy conflict on his person, being framed for murder of police chief as the Green Arrow, and declared dead and disgraced as Oliver Queen. All of these acts were orchestrated by a shadow organization known as the Ninth Circle who uses their money and influence to finance crime and terrorism all over the world. After both their plans to ruin Oliver succeeded Ollie went to seek out an old ally, Roy Harper to help his fight against Queen Industries in building of an oil pipeline that would threaten a Native American reserve and by the end of the conflict Ollie reconciled with Roy and look towards taking Seattle back.

Specters from the Past

While compared to most comics, this one was on the short side (21 pages with ads), but it still managed to follow two different stories in a balance that worked well to give what we’ll be expecting from this story. On Ollie’s end we have him taking a really long walk through a mausoleum and reminiscing on days past. Mostly his first kill (an animal) and memories with his father. While we don’t know much about Ollie’s relationship, considering he barely knew him either, we do learn a few things piece by over the run of Green Arrow in its entirety.

I honestly don’t know what to make of this

Though not too much actually happens with this portion of the comic, we are shown a possible conflict of interest. As he delves deeper into the mausoleum he comes across various weapons and trophies along the way, showing us one or two things about his personality and why Ollie was given a bow at such an early age. But more to the point, it’s what Ollie finds at the end of this road.  A mask that looks oddly familiar to the one Cyrus Broderick (current CEO of Queen Industries) wears when meeting with the Ninth Circle.

The Four Horsemen

Rather than three horsemen and one horsewoman, this was a really interesting approach to what would come from the current story. Upon Ollie’s return to Stark City we get four glimpses of sabotage in four different areas of the city. Of course, death ensues in each of these attacks. While there wasn’t really a pattern in why these locations were significant (but they may have been an attack on Seattle’s infrastructure), we’ll learn next issue that these were meant to kill important persons. Whatever the reason, a lot of people died in the cross fire.

However, the Four Horsemen aren’t the only ones wreaking havoc. In keeping up with Green Arrows political themes, Cyrus is pushing to the mayor to convince Seattle’s councilmen to vote for a bill that would ease zoning restrictions in order to make the market a free for all, allowing things like a strip club to be built next to a school, only an example of course. We didn’t have an overall great opinion of Mayor Domini after we last saw him with Ollie, but we can feel for the man once we learn that he’s being bullied into the Ninth Circles pockets by way of the death of his son.

In the final panel of the book all is connected when Cyrus under the mask reveals his true motives and they spell bad things for Seattle but good story telling, as has been the case for Green Arrow Rebirth.

*Metallica plays in the distance*

The Art

This was the most bittersweet part of getting anew arc. I loved Eleonara Carlini on the previous issues but wow was I blown away with the art in this. Eleonara was replaced with Juan Ferreya who also did the amazing cover for this issue as well. His style is very heavy in penciling with a similar use of color. He brings a slight grittiness and gloom with the use of darker and more realistic coloring, whereas Eleonara was more, I don’t want to say cartoonish, but much more animated. Like I said, I love her art, they’re both well done but I can feel that Ferreyra’s depiction will set a tone for the story to come. He even has some gory moments in there that translate well into what he’s trying to portray.

And this is only one Horse*woman*man

Final Thoughts

This was a really, really great start for an arc that looks like it will be quite promising. The length was a little off putting but in the end didn’t hinder what the story was trying to get across. We got to see Ollie and the Ninth Circle in a new light, so to speak, with a whole new artist. I asked myself a lot of questions about where to story could end up and like the fact that I have so many scenarios playing around in my head. I can’t wait for the next one!

Final Score: 9.5/10


Green Arrow Rebirth #21

Story: Benjamin Percy

Art & Colors: Juan Ferreyra

Lettering: Nate Piekos

Images Courtesy of DC Comics

Hey, everyone! Just your friendly neighborhood nerd. From NYC/NJ, 28 years old. Ask me about a Fandom and I can go on for hours. Firefly, Penny Dreadful, and A Song of Ice and Fire are my favorites, let's get nerdy.

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Saga: True Colours

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It’s a fine line that which divides nature and a zone of comfort; so fine it’s sometimes too easy to confuse one with the other, or think them to be interchangeable terms. But the differences are there, however subtle. For one, a zone of comfort is often a treacherous foe against personal growth. It may even render you numb before coming adversities and leave you unprepared to resist them. Am I being obnoxiously specific yet? Well I can take it up a notch. A zone of comfort can also blind you, delude you into mistaking someone’s nature. Make you see a foe as a friend when the tide is calm.

But when the tide grows restless, leaving that zone of comfort is quite the rude awakening. Hope you like those, lovelies.

Issue #52
“Not when we were so close…”

The “Jetsam Holiday” arc has been a lovely time so far, comparatively speaking. For every dark development unfolding within or without Hazel’s immediate (and extended) family, there has been lots of sunshine and fucking. And of course, there has been plenty of wholesome entertainment for the whole family to enjoy also. If the image of Hazel waging sea war against Petrichor and Ghüs while atop Sir Robot’s shoulders isn’t heartwarming, her wishing Sir Robot didn’t have to leave absolutely is. And furthermore, Sir Robot even reciprocates it.

Old foes may turn dear friends in time – just like my dad used to say… not really, but let’s pretend he did.

In the meantime, Marko and Upsher have a thoughtful conversation while frying fishies. Beyond the perennial dynamic of the journey, one of Saga‘s thematic signatures is the encounter between worldviews. Sometimes this occurs through future Hazel’s introspection, and sometimes through calm moments like this. By learning of how Upsher and Doff learned about the fugitives and their daughter, Marko finally realises something we’d long known by now. There is no action that goes without consequence in this galaxy. Whether it’s some nameless mook who becomes a villain’s motive for revenge, or a grunt left behind who’s see too much.

Their conversation migrates then to the topic of accountability when it comes to one of the most traditional roles in war: killing. Having been a soldier, Marko has obviously taken on a very active role. But Upsher isn’t entirely clean either, despite never taking a life himself. Being a journalist, his business is all about information, but its reception always risks a response, which sometimes involves violence. This is, Marko argues, the reason he will be sticking to writing fiction. Nevertheless, Upsher’s response is a banquet for thought, and I’ll quote:

“Putting new ideas into another person’s head is an agggressive act, and aggressive acts have consequences. Face it, you can be a writer or a pacifist, but you can’t be both.” The written word, to communicate or to inspire, is necessarily a political act. We’ll take this morsel with us home to mull it over, as something else comes up, demanding all heads and hands. Alana enters the scene with the news: Squire is missing. The young Robot has followed through with his plan to leave.

Cut to Ianthe, wandering the wilderness of Jetsam, and adding a touch of danger to Squire’s stunt. Her concern over The Will, now free, angry and deadly, reaches a high point upon seeing a note pinned against a tree with a knife. Menacing even when written in cursive. The note proper says they’re even; him having killed her fiancé, and she having skinned his dog. I’d hardly call it even myself – Ianthe is still in debt, but I digress. We’d be delusional to think this warning would dissuade Ianthe – too proud a villain to heed common sense.

Meanwhile, the grownups at the beach camp find Squire’s farewell note, charmingly written in crayon. His message and how he addresses himself as Princeling make his intentions clear. Sir Robot’s son intends to return to the Robot Kingdom; maybe his ways of chivalry had an unexpected, unintended side effect on the kid. Overtaken by shame, Sir Robot insists on handling this himself, then declaring this to be his fault. He then reveals the ugly incident of hurting Squire last issue, earning Alana’s anger and Hazel’s disbelief. Before Alana can unleash a (well-deserved) fist upon Sir Robot’s face, Marko walks in full-clad in armour, bearing… mushrooms.

Ah, but these mushrooms are special mushrooms. They don’t grace soups with supreme delight or allow you to summon Frank Zappa in Bloodborne (which I’ve been playing a lot of lately). These mushrooms function as flares bright enough to see in daylight or when penetrating deep in the forest. Hazel demands to come with, but her mum won’t allow it for good reason. Upsher offers to stay with Hazel, as he’s also confident his partner Doff has already found Squire.

If only he knew…

The pinky oath between Alana and Hazel marks the beginning of the search.

The scene then changes to Squire/Princeling’s point of view. He has definitely taken a shine to Hazel’s Ponk Konk, who now accompanies him as a friend to “talk with”. And it’s just as well: Squire is terrified. He roams what appears to be an abandoned amusement park, which is a creepy setting in any galaxy. According to a conversation he overheard between the grownups, the magical ingredients for the “body swap” are transported through pipes that run through these unsettling parts. Therefore, his course to take appears obvious, quite unlike the strange creatures following his movements, concealed in the overgrowth.

The worm-like creatures lunge forward, ensnaring Squire to be devoured by a nightmarish mouth spreading wide across the grass. Amidst the horror of the moment, he drops Ponk Konk, possibly into the maws of this hideous creature. Someone makes the save in the nick of time with a few well-aimed shots, however. Thankful, Squire hugs his unlikely saviour: Ianthe. Could it be he has managed to survive one beast only to end up in the maws of another?

Elsewhere, Sir Robot spots a strange jellyfish-like ship while searching for his son. The Will gets the drop on the former Prince, skewering his arm-cannon with his spear. Sir Robot doesn’t quite recognise his attacker, but The Will him well enough; not as the disgraced noble, but as the killer of his former love, Spider woman extraordinaire, The Stalk. A vengeful intent is clearly approaching. And though Sir Robot frets over being interrupted from his search and disarmed, he keeps his cool to talk with the reinstated Freelancer.

The Will is back on the job to catch the fugitives, but not before killing Sir Robot. Knowing that an ordinary, desperate plea won’t do the job, Sir Robot presents another possibility as a bargaining chip to secure his and his son’s safety: to surrender Hazel to The Will.

Seems old foes turn into friends dear when the tide is calm… otherwise, they’re only placated foes, only for so long. Treacherous asshole.

 

Saga Issue #52 Credits

Writer: Brian K. Vaughan

Artist: Fiona Staples

All images are courtesy of Image Comics

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Batgirl is Getting a New Direction And a New Look

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Can I say that I, for one, am glad that we’re finally getting a new author for Batgirl? Because I am. Now this is no disrespect to Hope Larson; she is a competent writer who has told some really good stories over the last two years, but for me she just wasn’t a good fit for one of my favorite DC superheroes. Now I’ll probably get backlash from the community of fans who like to criticize the whole DC darkness thing for this but you know what? Yes, it should be dark and gritty, that’s always been associated with the “bat” name. Should it try to be a little more light hearted? Sure, but it’s a balance. My issue with Hope Larson’s run was that it was way too “tweeny” considering the kind of comics we’ve seen in the past with Barbara, Cass, and Stephanie.

Now, I also get that heroes need to evolve in order to meet their targeted audience. Hope Larson in retrospect did something that I very much like. Like the political nature of Green Arrow, Hope managed to construct her stories centered around the criticisms of overuse of technology, freedom of the internet, and the use of personal data. These are topics that remains very relevant this year and will be for some time to come. The fact that she was able to use this to tell stories that no matter what I say, were still entertaining, is a testament to the fact that she was a very good writer.

However, it is still time for a change. Despite the great motivations behind her stories, they were still cringe-y sometimes. Seeing Barbara juggle her nightlife with her student life is a common theme among younger heroes, and her friends in the LGBTQ community offered real understanding for audiences, but it still felt like a teen drama.

Don’t get me wrong though, I love her supporting cast, especially Alyssa who was created by Gail Simone in her well loved Batgirl New 52 run. The author was very outspoken for gender identity and the over sexualization of females in comic books. To see Hope Larson treat characters created by Simone with love and care was really something. By now I probably sound like I loved Hope’s run on Batgirl. As I said before, it wasn’t a bad run and I enjoyed reading it for the most part but I need something a bit more than that.

Starting with issue 24, we’ll be getting a plethora of new authors for the next few issues. Like with Green Arrow, finding a new permanent author takes time but with the Benson sisters spearheading that comic, Mairghread Scott will be taking over exclusively come August and issue 26. Now, I haven’t read anything by her save the most recent Green Arrow title, which I liked hell of a lot more than the previous two. So, I’ll be seeing her writing without bias and without former convictions. I’m really excited to see where she leads Barbara in her new adventures, but hopefully she focuses more on Batgirl and Barbara rather than love interests and overly cringe worthy situations. I get Barbara is awkward but that was just painful.

According to previews, we will see the return of Barbara to Gotham and of another character, or rather villain, created by Gail Simone called Grotesque. In this version, he plays a murderous art thief who moves to create his own vile art gallery with the pieces of his victims. He ends up getting the jump on Babs and setting the device in her spine off, effectively taking away her ability to walk again.

It looks like we’re going to be seeing a lot more continuity from the Gail Simone days and either the nostalgia will hit long time fans or Scott will be taking us in a whole new direction. So many questions, the main one being: could this be the end for Barbara as Batgirl? As much as I love Babs, I am part of the group who feels she needs to pass on the cowl to someone new. But that’s a topic for another day.

Speaking of getting a new author, we also have a revamp of Batgirl’s look, which is also a huge plus for me. If you’ve read Batman: White Knight you’ll no doubt recognize this costume from it. Sean Murphy, the genius behind that story, must have allowed the costume to be used as main canon. I’m happy for this because I really, really like the new look. I was never a huge fan of the purple zip up jacket-like outfit she was sporting in “Burnside,” but that just comes down to aesthetics.

The new look is sleek and more “batty” adding more to her own persona. Batgirl and Nightwing were among the first to leave Bruce behind and create their own identity and damn if this is not screaming that she’s the best “bat” out there.


All Images Courtesy of DC Comics

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DC Is Relaunching Vertigo, Doubling Down On Millennials

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It’s been 25 years since DC Comics launched perhaps the most successful imprint in comics history: Vertigo. Since its foundation in 1993, some of the biggest graphic novels ever have come out under the Big V. Its initial run of titles made a splash on the shelves of comic stores and would cement their authors as comics royalty: Neil Gaiman, Garth Ennis, Brian K. Vaughn, Brian Azzarello. Old properties (The Sandman) and old legends (Alan Moore) found new life at Vertigo. These new comics were no longer the whiff! bam! pow! of the past, but they also largely avoided the hyper-violence and darkness of the 90s. They handled adult themes like alienation, religion, feminism, and, yes, violence. But they handled these themes with more nuance and variety than ever before.  For the first time in the medium’s history, comics were becoming literature.

But all of the original titles have ended, with Hellblazer being the last of the old guard, closing in 2013. After a few years on the down low, DC is planning a massive relaunch of the classic brand for a new generation.  With it comes a clear emphasis on the political power of comics. They aim not for the Gen-Xers who made Preacher, iZombie, and Fables bestsellers, but for millennials. Titles will deal with the topics its readers care about: immigration, white supremacy, sex work.

Just like in 1993, the creators taking part in the relaunch are a vibrant mix of rising stars and new faces in the comics world. Eric M. Esquivel (Roberto Roberto) will bring us a tale of demons run amok in a border town while Ben Blacker (The Thrilling Adventure Hour) will spin a tale of brainwashed witches reclaiming their power. Bryan Hill (Postal, Batman) will put a biracial cop in harm’s way as he investigates a white supremacist group. Frequent Nine Inch Nails collaborator, Rob Sheridan, is sending a smuggler on an impossible quest, and Mark Russel (God Is Disappointed In You) pits Jesus against “Superman”.

The group of writers and artists are a nice mix of diverse voices, with two women serving as writers their own titles, both of which will no doubt invite controversy. The first, Goddess Mode, takes place in a cyberpunk VR hellscape where tech support involves a huge neon sword. Its author will be video game developer Zoe Quinn, perhaps most famous for being the internet’s biggest scapegoat and the original source of the “Gamergate” controversy. The second comic, Safe Sex, will be a dystopian book focusing on sex workers who dare to love in a world where all sex is under government control. Its author is sex-work advocate and LGBTQ+ journalist Tina Horn, who will no doubt bring an expert opinion to a topic that comics really, REALLY has never handled very well.

The new books start in September of this year, with Border Town,  and the rest will follow month by month right through into the new year. They will join the pre-existing raft of Vertigo titles, as well as Neil Gaiman’s brand new Sandman Universe line.


Image courtesy of DC Comics and Vertigo

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