After another short intro from the “Secret Files of Batman’s Greatest Cases” featuring King Tut and his armies of mummies which ar thwarted by Batman and Robin wearing mummy costumes (coated in buttermilk because “it’s the one thing that repels pharoh’s rays”)… wait, I have to stop for a second because this, yet again, is another opening that is equal parts awesome and insane. Anywho, the real story gets started when Batman shows in Metropolis on the trail of jewel thieves, only to stay around for a few days and hang out with Superman.
There are two different types of comic writers. The first attempts nothing more than to tell good stories month after month by understanding the characters, the world they inhabit, and working within that framework. The second attempts to deconstruct the existing reality of a hero in an attempt to create a definitive version. Grant Morrison is the later. And that’s why he so often pisses me off.
This comic has at least three separate stories going on (actually more, counting the multiple flashbacks of Kathy Kane) and is presented in the twisted half-assed teasing manner Grant Morisson thinks makes great storytelling, but, at least for me comes off as a fanboy who has seen Momento way, way too many times.
The story involves Batwoman, flashbacks to the early (and late) days of the original Batwoman, Batman caught in a death trap, and a villain who is somehow connected to it all. Oblique storytelling isn’t terrific in and of itself. If it were Grant Morrison might be the best author of all time.
Although I enjoyed G.I. JOE: Cobra, it’s been awhile since I’ve picked up a regular on-going G.I. JOE comic. Seeing both Snake Eyes and Storm Shadow on the latest cover I decided to give this one a look.
Even though I hadn’t read much of IDW’s current G.I. JOE universe it was easy to pick things up. The Baroness had been captured and Destro and C.O.B.R.A. were using a homing device to locate her inside the JOE’s secret base.
We also get a battle between between Snake Eyes and Storm Shadow, part of which takes place in mid-air as they’re falling from a building. Okay, that’s kinda cool. This issue throws in Zartan and the Dreadnoks, which certainly isn’t going to hurt my opinion of the book.
In fact in many ways this entire issue feels like it’s playing on the nostalga of my youth. The trouble is, with as much fun as there is here to have, the story itself is somewhat empty. Am I glad I read this issue? Yes. Does it make me any more likely to pick up the next one? Not really.
Old stories don’t die, they constantly get remade by Hollywood. In the new version of The Three Musketeers the hot-headed young D’Artagnan (Logan Lerman) joins forces with three rogue Musketeers (Matthew Macfadyen, Luke Evans and Ray Stevenson) to stop the evil Richlieu (Christoph Waltz) and the Duke of Buckingham (Orlando Bloom). The new version is directed by Paul W.S. Anderson who brings his trademark style and spouse (Milla Jovovich) to the proceedings. Oh, and this one’s in 3D. Anyone else feel the need to start drinking? The Three Musketeers explodes into theaters (apparently with woman and ships that can fly?) on October 14th.
There’s quite a bit shoved into this issue as Max’s plan goes into motion and the JLI celebrates the return of Beetle and Batman and tracks down the Amazon princess before Lord can implement his plan of revenge. There’s also a somewhat surreal moment as Batman and Wonder Woman meet for the first time, again.
I’m still a little sad we aren’t getting a little Guy Gardner thrown in (he certainly could use the break from the Brightest Day nonsense he seems to be trapped in), but I’m happy to see the return of Blue Beetle so quickly. Also, I’ve got to say just having Batman back with the JLI is pretty damn cool. Worth a look.