THE PHANTOM STRANGER #0

STORY: Dan Didio
ART: Brent Anderson and Scott Hanna

And just like that, The Phantom Stranger became one of my favorite series. While DC (I still say unjustly) cancelled the phenomenal Resurrection Man - a series rooted in classic, episodic storytelling that slowly built up a genuinely interesting character - it has replaced that series with tales of the Phantom Stranger in the able hands of Dan Didio, a man who wrote O.M.A.C. so well it was literally too good for most readers. Out of the pages of The New 52 #1, Didio brings us the exploits of the most enigmatic member of the "Trinity of Sin", and it is so, so, so good.

The Phantom Stranger was always a mystery. But unlike so many other characters shrouded in misdirection and facades, Phantom Stranger existed on his own level - his actions, his reasons, and his meaning were all unknown. He would appear seemingly out of nowhere, and act upon his own, unexplained predilections without notice. Truly, he was a stranger in a comic book universe where (almost) every character eventually gets a backstory, whether it's necessary or not. The Phantom Stranger fully takes advantage of the 'new' part of the 'New 52', offering a definitive origin, more fleshed-out character development, and an all-around kick-ass time.

Religious symbolism is an ample well for storytelling, and in the opening pages of The Phantom Stranger #0, it becomes pretty obvious that the Stranger was once Judas Iscariot, the man who betrayed Jesus Christ of Nazareth. Dan Didio deftly handles this symbolism, taking care to never mention either the Stranger or Jesus by name, but instead through Judas' suicide attempt and looming fate. "You are beyond forgiveness," a council of wizards explains to poor Judas (yes, a council of wizards. Though they all happen to resemble Shazam, suggesting a connection in future issues.) "Your greed has forever darkened the world." - it's enough to get the point across without sounding preachy. Didio understands that symbolism is just that: symbolic.

Judas is then cursed by the Band o' Wizards to wear a necklace made of coins, wear Jesus' robe, and walk the Earth for eternity until he's called upon again. While it seems like there's a lot to take in all at once, this is 'Issue Zero'. The whole point of the prequel issue idea is to offer a more comprehensive explanation of a certain character, in most cases through a look into the events that take place before the first issue. With The Phantom Stranger, we're literally given the entire origin of the character to the extent that we need it. Obviously, we don't need to know Judas' pre-judgement history because another book already took care of that. Didio tells us everything we need to know: who the Stranger is, how he came to be, why he does whatever he does, and where this series is going as it moves forward.

I was honestly quite skeptical of DC's "Third Wave", as two of my favorite series (Justice League International and Resurrection Man) were cancelled to make room for new titles. But after reading The Phantom Stranger, I feel better about the other three upcoming series. Dan Didio knows what kind of writer he is, and he recognized that his full-blown style (as presented throughout O.M.A.C.) was too much. For The Phantom Stranger, Didio reels in his bombastic style just enough to make the series more accesible to a larger audience without sacrificing the pulp and charm that make his writing so good.

GRADE

B

(COMIC) GREEN LANTERN CORPS #10

STORY: Peter J. Tomasi
ART: Fernando Pasarin and Scott Hanna

I haven't been too impressed with Green Lantern Corps as of late. Peter J. Tomasi seems to be throwing all his energy towards Batman and Robin leaving GLC with a husk of a narrative to drive it forward. Part of this boring streak comes from the use of the Alpha Lanterns, a group of ridiculous Lantern police who have been a constant nuisance since they were first introduced years ago. I'm not a fan of the Alpha Lanterns - not from a story perspective, but from a narrative one. Alpha Lanterns are just buzzkills; they're not really "evil", and their storylines always focus on moral dilemmas. There's only so many times the Alphas can rise up - only to be talked back down using ethical logic - and brought back to the status quo before readers get bored. I'm already there.

Nonetheless, Green Lantern Corps #10 is easily the most enjoyable issue of the "Alpha War" so far. The first two entries into this arc were mired with legal jargon and judiciary proceedings - not things you want (or expect) from an action-based comic book. And while the best part of this month's issue is actually a debate over an issue of hypocrisy, the fights come out in spades.

Now that John Stewart has an expiration date, the Alphas and the Guardians discuss how it should be done. It's very, very interesting to see the direction Tomasi is taking this story now. The Alpha's immediately suggest that the Guardians be the one to execute Stewart; a way to "legitimize" the Alphas' decree. Without hesitation, the Guardians decline. Then the Alpha's suggest a group of Lanterns be chosen at random to do the deed, to which the Guardian's see (rightly so) as totally hypocritical. In a last ditch effort, the Alphas suggest an outside mercenary to act as executioner. Fed up with the Alphas' presumptuous attitudes, the Guardians decree that if the Alpha's want to execute John Stewart, they'll have to do it themselves. It's a harrowing part of the book and one that does not bode well for the future of the Alpha Lanterns. Eventually, Guy springs John from the Sciencells with dozens of Lanterns as backup. 


The worst part of this month's issue comes from John's confrontation with Kirrt's parents. By his own conscience, John asks to meet with them when they arrive to attend Kirrt's official funeral on Oa. It's a really stupid scene because John tries to explain that he's not looking for their forgiveness - he only wants a chance to apologize for his actions.

This isn't true at all!

If John really wanted to apologize with no ulterior motive, he would have written a letter or recorded a video for Kirrt's parents. And maybe they wouldn't read/watch it, but that's their choice. What Tomasi is actually giving John Stewart is one more chance to make things right with Kirrt's family. John wants a few more minutes to explain his side of the story and how it was the right thing to do. This is total bullshit. John's personality goes through such a violent shift in only a matter of pages that it's jut jarring to follow. One minute, he wants to atone for what he's done, the next, he's ready to die. Make up your mind, man! (I am, of course, speaking to Tomasi, who can't seem to decide if John should be a cold-hearted killer or a martyr. Either way, I feel like GL fans will lose. Putting John Stewart in this situation was unnecessary and mean. John's always been the GL that feels guilt more than any of them, and yet Tomasi decides John's the one to have to go through this totally painful and embarrassing trial.

GRADE

B-

(COMIC) GREEN LANTERN CORPS #9

STORY: Peter J. Tomasi
ART: Fernando Pasarin and Scott Hanna

This cover is a misdirect.

The firs six issues of Green Lantern Corps were action-packed and fun to read. The same cannot be said for "Alpha War", the current arc. Granted, I've said nice things about GLC the past few months mostly because I was hoping things would start moving a little quicker. Unfortunately, Green Lantern Corps #9 suffers from simply not being interesting.

"Alpha War" seems to be a misdirect, as there has been no 'war', so to speak. Yes, the Alpha Lanterns are getting all up in John Stewart's face, and yes, the Guardians are probably using the Alphas to bring about the coming of the mysterious "Third Army". The stakes just don't seem as high as they should be. I read an editorial piece recently that posited that the Guardians of the Universe have become long in the tooth; they've been so dastardly for so long now, it's not as shocking to see them scheming as it was back in, say, 2007. And the fact that - after years of storytelling - there are still deep, dark secrets in the Guardians' closet means that these blue beings have been corrupting the universe since it's inception, and that's a notion that throws the entire DC Universe into question. Apparently, no one at DC thought to look into this further.

Basically, Green Lantern #9 is one long trial. It's suuuuuuper boring. A lot of trial jargon and scenes of the entire Corps in attendance doesn't make up for a filler of an issue. The only good part comes when a few Lanterns raid the crypt and attempt to smash Kirrt's statue after hearing about the cowardice that led to his murder. Guy Gardner stops them and takes a few pages to lecture them about knowing how to use fear. It's a 'lesson' that's been taught every which way for years and it's lazy.

Peter J. Tomasi needs to step up his game. Green Lantern Corps was doing great, but mucking it up with legal drama is murdering it's reputation.

GRADE:
D+

(COMIC) AVENGERS VS. X-MEN #4 of 12

STORY: Jonathan Hickman
ART: John Romita Jr. and Scott Hanna

Finally, finally, things are moving forward a bit in Avengers vs. X-Men, a series that has, thus far, shown little more concept than, "let 'em fight!" which may not be a terrible idea on paper, but stretching it out to a whopping 12 issues was silly, as I mentioned a few weeks ago for my review of AvX #3. Fortunately, Jonathan Hickman's turn at bat has proven a much better experience than any previous issue, and it's mostly because the actual conflict is in the background.

A few panels here and there are dedicated to giving the readers a little overview of where all the troops are for both sides. Fights have broken out on Wundagore Mountain, Tabula Rasa, in Wakanda and Latveria, and even into the Savage Land. The beginnings of these bouts are explained throughout various tie-in issues over the Marvel imprint. Uncanny X-Men #12 shows how Namor and Sunspot got to Tabula Rasa to fight the Thing and Luke Cage, etc. Compartmentalizing these fights has given Hickman more room to flesh ou an actual story, which is refreshing.

Last time, Captain America kicked Wolverine out of a Quinjet and into Antarctica. A polar bear skin-clad Logan follows a trail of frozen beer - in a nice moment of humor - to Hope Summers who has come looking for Wolverine, even though last time they met, he tried to kill her. After a little time to herself to comprehend the scope of the alien entity coming to possess her, Hope now understands why everyone is going ape-shit over the Phoenix's return.

While the various fights around the world are going on, Iron Man is attempting to build a Phoenix killer - a weapon with enough cosmic might to take down a god - and Emma Frost psychically uses Toad to interact with Cerebra at the Jean Grey School for Higher Learning in Westchester. This shows not only Cyclops' disrespect for Toad, but also his desperation in technically stealing from Wolverine. Hope recruits Wolverine to help her get to Earth's moon, where she hopes she can connect with the Phoenix and learn to control it before returning to Earth. Seemingly impressed by Hope's logical thought process, Logan comes along for the ride. And then, all hell breaks loose.

The showdown between the Avengers and the X-Men is staged on the moon's surface as Wolverine informed the Avengers to Hope's whereabouts as soon as they met in Antarctica, and Emma was able to find Hope using Toad and Cerebra. Like most situations in this series thus far, this face-off feels forced. On the moon? Seriously? Then Thor crashes down and the Phoenix shows up. Like I said, this issue finally gets some plot going, but it takes us to the moon and that just seems silly.

GRADE:

B-

(COMIC) AVENGERS VS. X-MEN #3 of 12

STORY: Ed Brubaker
ART: John Romita Jr., Scott Hanna

After what amounted to a pissing contest followed by an issue of little-to-no plot, Avengers Vs. X-Men is finally on-track to deliver a cohesive story. Ed Brubaker takes the reigns for issue three, and he does a fantastic job raising the level of discontent between the two warring factions.

Wolverine acts as the audience surrogate, waking up hours after being cooked by Hope Summers at the end of issue two. Spider-Man informs Logan that the X-Men have surrendered and Captain America is trying to get everything in order again. Logan immediately knows something is up and attacks Cyclops, which turns out to be a mystic projection from Magik masquerading as Doctor Strange. This scene is the first of two important ones dedicated to piling on the distrust between the two sides. It's worth mentioning the press release given out by the X-Men's publicist in the pages of Uncanny X-Men #11. In it, Cyclops explains how the Avengers - and the US government, by proxy - considers mutants to be 'less than' even after everything the mutant community has given back to the world, and waxes poetic about being treated like property instead of people. It's a powerful element of this event that I'm quite surprised wasn't included in the main series. Either way, Magik's fake-out serves as a proverbial smack in the face to all the Avengers. Add in an argument between Iron Man and Captain America about the legitimacy of the Avengers' mission, and you've got a great first part of the issue.

The second important scene is between Captain America and Wolverine onboard a Quinjet discussing Logan's rogue behavior on Utopia. Cap believes Logan is too involved, too close to the situation to make rational and logical decisions. Wolverine, on the other hand, knows the Phoenix force better than most and feels he has to do anything in his power to stop it. After a quick fight, Cap orders the jet's cargo doors open and throws Wolverine out. It's quite obvious that the Captain had this planned all along, that he's had a contingency for Wolverine in place for quite some time. Seeing this side of Captain America is a little chilling - he's (only somewhat) turning into a Batman-esque character who has a coordinated plan of attack against any of his fellow Avengers...just in case.

So far, it seems like Brubaker has the best hold on the plot of this series. It's difficult to express discord between friends in a comic in a meaningful way. Fortunately, Avengers Vs. X-Men #3 made up for a lot of the pitfalls I saw in the first two issues. If Marvel can keep the narrative moving as smoothly as the giant, orchestrated fight sequences, this series might just be amazing yet!

GRADE:

A

(COMIC) GREEN LANTERN CORPS #8

STORY: Peter J. Tomasi
ART: Fernando Pasarin and Scott Hanna


Things are changing in the Green Lantern Corps. At the end of Peter J. Tomasi's "The Lantern Keepers" arc, John Stewart was forced to murder a fellow Corpsman to avoid releasing the access codes to Oa's security and defense systems. It was a bold move to make John a killer once again. Many writers spent many years leading the stoic Green Lantern through mental anguish and recovery over his inability to save the planet Xanshi from destruction. This time, however, John knows that what he did was for the greater good, no matter now bad it makes him feel.

The beginning of the issue shows a rather large showing of Lanterns moving the Sinestro Corps Central Battery onto Oa for safekeeping. John has dug a hole big enough for the yellow battery, but Guy constructs a giant hammer and knocks it in sideways instead of vertically, as John had planned for. While his actions came in a moment of anger, Guy explains that the symbol of the Sinestro Corps shouldn't be standing upright, especially not on Oa. And the Guardians agree! For the first time in Guy Gardner's career, the Guardians of the Universe agree with his opinion. The Guardians then offer Guy a sort-of 'general' position within the Corps, to stand above the rest and answer only to the Guardians themselves. Totally in character, Guy gleefully accepts, smugly adding, "What the hell took you so long to rub the blue glue outta your eyes and see I'm the one!"

The real point of this issue (outside Guy's promotion) is the final page; the Alpha Lanterns descend to arrest John for the murder of Green Lantern Kirrt, an action that will surely lead to this "Alpha War".

GRADE:

B

(COMIC) AVENGERS VS. X-MEN #2 of 12

STORY: Jason Aaron, Brian Michael Bendis, Ed Brubaker, Jonathan Hickman, and Matt Fraction
SCRIPTS: Jason Aaron
ART: John Romita Jr. and Scott Hanna

Marvel has a tendency to misjudge the length of it's major comic book events. 2006's Civil War seemed like a good length at seven issues, but spent the final three mulling around until reaching the final battle and standoff between Captain America and Iron Man that everyone wanted to see anyway. In 2010, Siege was a measly four issues when it should have been a more sprawling epic. And just last year, Fear Itself lasted seven issues, followed by a 12-issue aftermath series - Fear Itself: The Fearless - that only ended last month. Two weeks ago, Marvel proved us that the conflict between the Avengers and X-Men showed promise in terms of storytelling concept and execution. Unfortunately, Avengers Vs. X-Men #2 fails as both a follow-up issue and as a piece of the overall narrative.

I understand that the fundamental focus of AvX is supposed to be the fighting; Marvel has been advertising the hell out of the event on a platform of awesome one-on-one fights that stretch across the imprint. That being said, readers should still get quality storytelling from a premier event with issues at the four dollar price point. And that's where this issue falls flat. An omniscient narrator (I like to think Jason Aaron thinks in the same manner as he writes) explains the brawls happening throughout the issue in opaque and tritely metaphorical ways, attempting to seem dramatic when it only comes off as pretentious.

Now don't get me wrong: the fights are awesome. Colossus vs. Red Hulk; Namor vs. Luke Cage and The Thing; Iron Man vs. Emma Frost and Magneto - these are just a few of the bouts fleshed out in the pages of Avengers Vs. X-Men #2, but they all feel stunted, like there isn't enough space in the issue to fit in all the action. Of course, Marvel knew this going in and planned accordingly with Avengers Vs. X-Men: VS, the all-fight companion series that debuts next week.

Knowing about VS going into this event makes the scant storyline all the more obvious. I couldn't help feeling like a lot of the fighting in the main series could have been relegated to the pages of VS with little consequence. But then Marvel couldn't stretch this (somewhat inane) conflict between these teams out for a exhaustive 12 issues AND sell us the companion series, so...there's that. Hopefully the third issue can make up some time in the narrative department.

GRADE:

C+

(COMIC) AVENGERS VS. X-MEN #1 of 12

STORY: Jason Aaron, Brian Michael Bendis, Ed Brubaker, Jonathan Hickman, and Matt Fraction

SCRIPTS: Brian Michael Bendis
ARTWORK: John Romita Jr. and Scott Hanna

It's finally here: the Marvel event fans have been demanding for years. Avengers Vs. X-Men signifies a major shift in the way Marvel is looking to structure their comic book universe. Pitting it's two most popular franchises against one another is a bold move, one that could make or break Marvel's financial year. If this crossover event isn't a hit, the House of Ideas has some problems.

So it's no surprise when Marvel announced the writer lineup for Avengers Vs. X-Men. All the big names are here to lend a hand, but Brian Michael Bendis takes the reigns with scripts that the others work from. Bendis' style is very prominent, but shades of Jason Aaron, Ed Brubaker, John Hickman and Matt Fraction are evident throughout the book. Similarly, John Romita Jr. has been brought in as the ringer on artwork. Romita Jr. has a very specific style that works for a variety of comic book fans. A few years ago, his work on Eternals and Kick-Ass were simply breathtaking, and he brings the same thick lines, sharp corners and gruff look from those series over to AvX.

Aaron and Bendis have done a fantastic job making Avengers Vs. X-Men attractive to new readers, and it's no coincidence that this crossover event will overlap with the nationwide release of Marvel's summer blockbuster, The Avengers. Unlike many (many) of their events over the past eight years, Marvel didn't release much 'build-up material'; the conflict between the Avengers and X-Men has been organically brewing for years in the pages of Marvel's many titles, and AvX is the natural endgame.

In this seminal first issue, good ol' Nova returns to Earth! Unfortunately, he's brought omens of the returning Phoenix force, the interstellar entity that possessed Jean Grey years ago. Meanwhile, Cyclops is going a little Mommy, Dearest on poor Hope Summers, the supposed 'Mutant Messiah'. After badgering her one too many times, Cyclops gets a face full of Phoenix. Hope's just as surprised as the rest of them before Bendis & Co. take us back to the Avengers (meeting with the President on Capitol Hill) who immediately sense the Phoenix energy signature.

The disagreement between Marvel's two most popular teams boils down to a lack of respect. The Avengers want to take Hope under their custody - especially after Nova's warning - while the X-Men believe that Hope's situation falls under their responsibility as leaders of mutantkind. Both parties have pushed the other around quite a bit in recent Marvel U history, so it makes sense that a fundamental issue like jurisdiction could be the catalyst to a massive conflict.

Being disappointed by Marvel events has left a sour taste in my mouth. Last year's Fear Itself was so lackluster I stopped reading after two months. Even 2010's Siege was half-baked at a measly four-issue main series. Apparently, Marvel took note with Avengers Vs. X-Men, giving readers a perfect-sized 12-issue main run, a six-issue VS. series dedicated to fights, fights, and more fights, as well as multiple tie-ins throughout the imprint.

GRADE:

A

(REVIEW) Green Lantern Corps #6

Written by Peter J. Tomasi
Artwork by Fernando Pasarin and Scott Hanna

As DC's 'New 52' hits it's sixth month, many plot lines started back in September are coming to a close - or at least getting damn close. With Green Lantern Corps, Peter J. Tomasi has brought us to the end of his first arc. This month's issue was one of the most interesting and fun issues of the series since September. While it's not difficult to 'over-do' a character in a title like Green Lantern Corps, it's surprisingly been done a number of times in the past. The fight against the Urakians comes to a head this month, showcasing not only Tomasi's strength at writing ensemble work, but also for Fernando Pasarin's beautiful art. Drawing tons of Lanterns fighting together, each projecting a different construct, is a difficult undertaking and one Pasarin steps up to with grace and fluid pencilling. Scott Hanna's inking isn't intrusive or loud, and his shading is exquisite.

With a crap-ton (the scientific measurement) of guns and a 'fear bomb' rigged to go off at the center of the Urakian operations, Guy Gardner's secret team goes in head first, relying on the element of surprise, bullets and a whole lot of willpower. Poignantly, Gardner observes, "...they sure as hell ain't immune to lead!" The fight scenes are exquisite and the Urakian's power-conversion system is a classic - if not cliched - human battery concept; the Urak leaders are keeping their people connected to a stargate so they can transport the Central Battery from Oa to Urak, displacing the Guardians' home as the center of the universe.

The big GASP moment came when John Stewart is forced to murder a fellow Green Lantern - Kirrt - before he gives up the codes for Oa's defense systems. And while it seemed (for a moment) that Kirrt may have been concocting a plan, Stewart realized his brother in arms had fallen. With the fate of the entire Corps in the balance, Stewart does what he believes must be done. Of course, we'll see the fallout of his actions in next month's epilogue issue.

As I mentioned earlier, it's been great learning about Green Lanterns other than Guy Gardner, John Stewart and Kilowog. Bringing in the 'Mean Machine' and including some of the better characters from past series - such as Sheriff Mardin, Hannu, and Brik - has been Green Lantern Corps' saving grace. I'm excited to see where Tomasi takes the series after next month's issue.

GRADE:

A-