DC Universe: Legacies (2010) #8

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So, if Wein knew he had to cover the whole Green Lantern goes nuts thing, why is an earthling the best narrator for the series? In fact, the earthbound narrator is now the worst possible choice in a variety of ways.

It isn’t enough he wouldn’t know about the Oa stuff or Parallax (oh, Ron Marx created Parallax… things make so much more sense now), the narrator’s also blond. So the colorist is adding these hints of grey at his temples to show his aging. Because, given the series should now be taking place only a few years ago in DC Universe time… the narrator would be in his mid-seventies. His daughter’s age is even more inexplicable.

The issue also shows stupid nineties costume design should be forgotten, not repeated.

The backup—it’s the New Gods finally—is terribly written and makes no sense. Quitely’s efforts appear disinterested too.

Dark Horse Presents (1986) #93

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This issue’s content implies the Presents editors didn’t care about the script, as long as the art was good. It’s a real improvement, actually, since there are some issues whether neither are any good.

I’ll start with Blackheart to get it out of the way. Morrison uses demonic possession as his deus ex machina here. Real creative. However, he does go and say FDR’s government during the New Deal supported racist paramilitary organizations. I don’t think Morrison’s doing it for effect, I think he’s just an idiot. Great Quitely art though.

LaBan’s Eno and Plum has some excellent, carefully done cartooning. Too bad the script is inane slacker with rich girl stuff. I do like the bad guy has a butt for a chin. But the script’s awful.

As for Wheeler’s Too Much Coffee Man… he tries to inject narrative. It fails. Again, some nice design, but a terrible script.

Dark Horse Presents (1986) #92

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The issue opens with Wheeler’s Too Much Coffee Man, which is a cute enough story about a disaffected guy with a coffee pot for his head. Wheeler uses the character to generally rail against modern capitalist society. Wheeler’s got a good sense of design and some of the observations are funny (none are profound). It’s fine enough… but it gets old before this first installment is even done.

Blackheart continues… revealing the villains to be costumed Tea Party members. Oh, wait, it’s a little early since Blackheart‘s set in the thirties. Maybe they’re just the well-to-do wing of the Klan. So, you know, proto-Tea Party. Quitely’s art is fantastic and Morrison’s scripting is okay. He sort of jogs around the race thing, which seems silly, since it’s right there.

Geary’s got a very long piece this issue. Some very detailed artwork and nothing resembling a good narrative.

Dark Horse Presents 93 (January 1995)

As for Wheeler’s Too Much Coffee Man… he tries to inject narrative. It fails. Again, some nice design, but a terrible script.

CREDITS

Eno and Plum, Part One; story and art by Terry LaBan. Blackheart, Part Three; story by Robbie Morrison; art by Frank Quitely; lettering by Clem Robbins. Too Much Coffee Man, Too Much Coffee Man Meets His Coffee Maker, Part Two; story and art by Shannon Wheeler. Edited by Bob Schreck and Edward Martin III.

Dark Horse Presents 92 (December 1994)

Geary’s got a very long piece this issue. Some very detailed artwork and nothing resembling a good narrative.

CREDITS

Too Much Coffee Man, Too Much Coffee Man Meets His Coffee Maker, Part One; story and art by Shannon Wheeler. Blackheart, Part Two; story by Robbie Morrison; art by Frank Quitely; lettering by Clem Robbins. Night-Drive; story, art and lettering by Rick Geary. Edited by Bob Schreck and Edward Martin III.

Dark Horse Presents (1986) #91

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You know, Mignola doing a fight scene isn’t particular impressive. In fact, Hellboy had a fairly boring finish. Mignola tries to maintain the minimalist tone for the fight and so the fight is lame. There isn’t even any resolution to the story itself. It’s just Hellboy versus a big werewolf, who may or may not turn into leaves when he dies. It’s a weak finish… somewhat harmless, but weak.

Baden has its conclusion too. It’s McCallum’s best art on the story, some really nice panels. Too bad Alexander’s script is confusing and dumb. I think it turns out the whole thing is meaningless, but maybe not. Unfortunately, the final panel threatens of a sequel.

Then there’s Blackheart. I knew Quitely had some art in this issue but I forgot and read the story thinking about the great art. It’s some lovely work. Morrison’s script’s mediocre at best–way too overdone.

Dark Horse Presents 91 (November 1994)

CREDITS

Hellboy, The Wolves of Saint August, Part Four; story and art by Mike Mignola; lettering by Pat Brosseau; edited by Barbara Kesel. Baden, Part Three; story by Jim Alexander; art by Rob McCallum; lettering by Clem Robins. Blackheart, Part One; story by Robbie Morrison; art by Frank Quitely; lettering by Robbins. Edited by Bob Schreck and Edward Martin III.

Batman and Robin (2009) #3

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This issue’s strange. Not strange creepy, strange it doesn’t fit the first two. It’s like Morrison realized he wasn’t going to have Quitely forever and so he better get some things done. More happens in the third issue than happens in the first two (times two). Damian doesn’t just form an emotional attachment to a victim, he also realizes Dick’s going to look out for him. So there’s a partnership developing there.

More, Morrison manages to “wrap up” his whole Professor Pyg thing in one issue. There’s the “real” origin, the origin the Pyg tells Robin about when he’s doing the James Bond villain thing and the Pyg’s defeat in the end.

It’s also got Dick borrowing from Damian (in the roughness he goes after a suspect) and Damian borrowing from Dick (none of Damian’s attacks are vicious this issue).

Morrison’s using the superhero comic medium to full potential here.

Batman and Robin (2009) #2

Bmr 2

Reading this arc–I know, I know, the circus stuff makes it perfectly suited for Dick Grayson–I can’t help but think of Batman Returns and the evil circus in it.

Again, this issue is Morrison decompressed. Seeing Quitely do an extended action sequence–the issue is basically just the action scene, with some bookends with Dick and Alfred discussing the state of things (after the first night out)–is odd. I only know him from his Superman work with Morrison and that book, while it did have a lot of action, was also heavy on the iconography. Batman and Robin is not. It’s a mix of a lot of things and there’s something magical about seeing someone with Quitely’s deliberate, realistic to the point of it being unattractive, lines do a superhero book.

Morrison’s staying pretty mainstream here. No metaphors, no real homage (past the cover). Just good writing.

Batman and Robin (2009) #1

Bmr 1

How can Morrison infuse so much humor, so much idealism, in such a nasty story? The book’s full of that buoyant Dick Grayson positivity, which is what makes his scenes with Damian so funny, but it’s juxtaposed with the serious negativity of the Pyg story.

See, the issue opens with the Toad and his threats and the Toad’s funny and nearly cute. When the Pyg shows up at the end with his zombie-masked people, it’s a definite departure from what one might expect. It’s rough, whereas the scenes between the Bat-Family are cute–I mean, Damian treating Alfred like a servant? It’s hilarious.

Batman and Robin is also decompressed Grant Morrison. There’s not a lot of talking, there’s a whole bunch of big panels and full-page spreads. It’s a commercial comic book to be sure, but a subversive one. Besides the Quitely art in general, I mean.