Category Archives: Reviews

Review: Flash #247: “Incubation” (Final Issue)

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Flash #247

Well, if Wally West’s series had to end — again — at least he got a decent send-off. Flash #247 concludes Alan Burnett’s four-part “This Was Your Life, Wally West”. This story wraps up threads from the current run of the series, looks back on Wally’s entire super-hero career, firmly establishes his roots in the Justice League and Titans, and sets up a few beats that can be picked up for future stories with the characters.

It picks up immediately after the previous issue’s cliffhanger, resolving the threat to Linda before rushing headlong into battle with the Queen Bee. This month does feature another flashback, this time to the West family’s time on the planet Savoth, but it’s only two pages. It ends with a conclusion that’s not quite an ending, but a place to stop. DC isn’t burning any bridges here the way they did with “Full Throttle” and the end of Bart’s series.

It’s also much better than “Finish Line,” the four-parter that wrapped up Wally’s series the last time it was canceled, from Flash #227–230. It was better written, better researched, and actually made an effort to tie together the rest of the series. The only thing “Finish Line” has over “This Was Your Life, Wally West” is consistent art.

While the first issue of the arc was penciled entirely by Paco Diaz, and the second and third were penciled entirely by Carlo Barberi, this issue was done by committee. Barberi gets the cover spot, but is joined by J. Calafiore and Andre Coelho. I’m not familiar with either of their work, so I couldn’t tell who did which pages, but the shifts in style were jarring. Normally changes in artist don’t bother me, especially if their styles are similar or if the change is done for thematic effect. (An example in The Flash would be Race Against Time, in which each issue used one art team for Wally’s storyline and another for John Fox’s.)

Brian Stelfreze’s cover, on the other hand, has got to be one of the best Flash covers since the relaunch. (I’d also include issues #243 and #246, both by Freddie Williams II) The starkness of it, with the plain white background, the shadow of the grim reaper, and the Flash standing barefoot with his boots off, says everything that needs to be said about what he’s up against. Honestly, I think it would work better without the “Wally West — Finished?” caption, or even the title logo.

Spoilers after the cut: Continue reading →

Review: Flashforward

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This has nothing to do with The Flash except the title, but I’ve been a fan of Robert J. Sawyer’s novels for several years and figured this site’s audience might still appreciate the review.

Flashforward has been in the entertainment news quite a bit the last few weeks with casting for the TV series pilot (more about that later). Strangely enough for a story that’s all about time and the role of the observer, I started reading the novel the day before the first casting news hit.

The novel looks at what happens when, at the moment a scientific experiment begins, everyone on the planet blacks out for two minutes. For those two minutes, everyone sees through the eyes of their future selves, two decades down the line. The world is transformed: first by the millions of accidents caused as drivers, pilots and surgeons lost control of their vehicles and instruments, and second by the survivors’ knowledge of the future.

What follows is an exploration of the nature of time, destiny and free will. Is this a glimpse of the future as it will be, or as it may be? Did the experiment cause the event, or was it a coincidence? Is foreknowledge a blessing or a curse?

Dilemmas

Flashforward is at its best when it focuses on characters’ dilemmas. While it sounds like the TV series will feature a wider cast, the original novel centers on the personal lives of researchers at CERN, particularly the two scientists who designed the experiment: Lloyd Simcoe, a 45-year-old Canadian who is shocked to learn that his impending marriage is doomed to collapse, and Theo Procopides, a 27-year-old Greek who learns that he will be dead by the time the visions come to pass. Lloyd wrestles with his responsibility for the event and whether it’s worth going through with a marriage he knows won’t last. Theo is consumed with preemptively solving his own murder.

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Review: Stan Lee’s Lightspeed

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I recently decided to try out Netflix’s instant streaming service by watching Stan Lee’s Lightspeed, the made-for-TV movie about a government agent turned super-speedster. It’s been on my queue for a while, and I figured I’d free up the slot for something else.

Ultimately, I was really impressed — with the service. The image and sound were very clear, even with the window playing fullscreen. I’m annoyed that it’s Windows– and Internet Explorer–only. Aside from that, the only thing I really missed was fine control over fast-forward and rewind.

The movie itself? Cheesy. And what’s worse, dull. I took a break halfway through and wasn’t sure I really cared about coming back to finish it. Heatstroke was better — and I mean that.

The structure’s fine. It starts with the villain, a man with snake-like skin called Python, and a firefight between the villain’s gang, the people in a building, and a SWAT-team–like group called the Ghost Squad. Then it flashes back to the villain’s origin, then jumps forward to the aftermath of the battle and weaves the hero’s origin into the tale of Python’s master scheme. Like many classic stories, the hero’s and villain’s origins are linked.

The effects are decent, if no more exciting than those that appeared on The Flash a decade and a half earlier. Though they do spend more time in daylight. The suit is goofy, but they at least hang a lampshade on its goofiness: he picks it up at a sporting goods store to help protect himself from windburn.

But the movie just isn’t compelling at all.

I started taking notes during the film, but they quickly turned into snarky commentary. So rather than writing a full review, I’m attaching them below the cut. There could be spoilers, so beware.

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Review: Flash #246: “Infection”

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We’re moving into the home stretch, with the second-to-last issue of the current Flash series. Part 3 of “This Was Your Life, Wally West” is written by Alan Burnett with art by Carlo Barberi.

The book was originally solicited with a more story-related cover by Brian Stelfreeze. Normally I prefer covers that have something to do with the story over iconic covers, but I have to say this is one seriously impressive cover by Freddie Williams II.

Carlo Barberi’s art continues to work surprisingly well with the serious tone of the book (I’d previously known his work only from Impulse), and the cast list is combined with the issue’s splash page.

The threats of the Queen Bee and power loss take a back seat to a more personal story: Wally West faces the possibility that he might lose the love of his life, Linda Park West. Much of the first half of the issue is a look back at Wally and Linda’s relationship, starting with their first meeting as reporter and story subject at the end of the “Porcupine Man” saga (Flash v.2 #24–28), working through their tumultuous courtship, interrupted wedding, all the way through to the worldwide memory wipe between Blitz and Ignition.

The flashback is well-integrated with the main line of the story, as it brings up several elements that factor into the second half of the issue as the Queen Bee case takes center stage again.

Oddly, I noticed my local comic store didn’t have any copies of this issue on the shelf. I meant to ask, but forgot, whether they had reduced their order, whether they’d sold more than usual, or whether they simply hadn’t finished putting everything on the shelf. (They were still sorting through customers’ pull lists at the point I got there.)

Spoilers after the cut: Continue reading →

Review: Soon I Will Be Invincible

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Austin Grossman’s novel Soon I Will Be Invincible is a fun romp through every super-hero cliché ever invented over the history of the genre. Time-travel, cyborgs, telepaths, aliens, evil geniuses, legacy heroes, secret identities, heroes going bad, villains turning good — everything. It’s an affectionate, tongue-in-cheek parody of the tights-and-flights set.

The book is narrated in alternate chapters by Dr. Impossible, a mad scientist who has held the world in his grasp a dozen times, only to be defeated by his arch-nemesis CoreFire — whom he inadvertently created — and by Fatale (as in “Femme”), a small-time cyborg hero who has just been invited to join the world’s premiere super-team, the Champions.

The book opens with Dr. Impossible still in prison, a situation that’s taken care of within the first few chapters. The world’s greatest hero CoreFire is missing, and the Champions, disbanded for nearly a decade after the death of one of their own, have re-gathered to find him. Their number one suspect: Dr. Impossible. Once he escapes, it becomes a race between him and the heroes: will he build his next doomsday device before they capture him? And where is CoreFire?

Dr. Impossible’s megalomaniacal nature (he suffers from “Malign Hypercognition Disorder,” the clinical diagnosis given most evil geniuses) suffuses every sentence as he dwells on his tortured past and schemes to take over the world. By the end of the book, he’s monologued his entire origin, down to the day his eighth grade guidance counselor told him he was a genius, and taken us on a tour of the underworld from its greatest peak to its most pathetic.

Fatale, despite being a high-tech super-soldier who can never live a normal life, comes off as the closest the book has to an ordinary person. She’s still an outsider in the upper echelons, and her loneliness is a constant presence in her chapters. She knows her new colleagues mainly from television, from news footage of their battles and from their celebrity endorsements. (One fundraises for Amnesty International. Another has her own line of beauty products.) While much of Dr. Impossible’s narration consists of flashbacks in which he tells the reader what he already knows, Fatale is entrenched firmly in the present, learning as she goes and relaying her experiences straight to the reader.

The Champions form a sort of dysfunctional Justice League (or is that redundant these days?), with CoreFire, Damsel and Blackwolf as the Superman, Wonder Woman and Batman equivalents. Except in this version, Wonder Woman and Batman are a divorced ex-couple, trying to work together. And Superman’s a bit of a jerk. (But then again…) The team is rounded out by man-tiger Feral, ageless Faerie warrior Elphin (who still has a mission to perform for Titania), magician Mr. Mystic (mainly in the Mandrake/Zatara mold, but with elements of Dr. Strange), teen pop idol Rainbow Triumph, and two newcomers: Fatale herself and Lily, a powerhouse from a distant, blighted future who once fought on the other side of the law. (The book’s website has a database of heroes and villains that doesn’t seem particularly spoilery at first glance.)

The book has its requisite battles, but for the most part it’s about what heroes and villains do in between the fighting: the endless investigations that go nowhere. Bickering at team meetings. Rivalries and affairs. Clandestine meetings in dive bars and abandoned buildings. Hunting for the components of a doomsday weapon. The same concerns as anyone else.

One disadvantage the book has is that it points out just why super-heroes tend to work best in a visual medium: the costumes. I only had strong images of a few of the characters, and most of them were taken from other comics. I never did figure out just what Damsel was supposed to look like, so I pictured her as Payback from True Believers. Fatale was somewhat like Liri Lee, a member of the Linear Men whose name I can’t recall (Thanks, West!). CoreFire, I saw as a cross between Red Star (in his red-and-yellow outfit) and Firestorm. Without pictures, the costumes are more or less pointless, and the only reason they’re included is tradition. Small wonder that colorful tights only really came in when heroic fiction made the jump from the pulps to the comics pages.

Although Dr. Impossible does make a case for why, despite Edna Mode’s warning in The Incredibles, a villain might want a cape. It makes for a much more dramatic entrance.

Review: Final Crisis #4

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After two and a half months, it’s finally here: the next chapter of DC’s major event for the year. The wait wouldn’t have been so bad if the tie-in one-shots, Submit, Superman: Beyond, Resist and Rage of the Red Lanterns had come out between issues #3 and #4, as originally described — or if Rogues Revenge and Legion of Three Worlds had stayed on schedule. As it is, there’s been a generally sense of frustration associated with the series.

So the question is: Is this issue worth the wait? Is it good enough to overshadow the real-world context?

I’d say the answer is yes.

All the threads being set up through the first three issues come together. We see what the villains have been planning. For the most part, they’ve already achieved what they set out to do: dominate the Earth. They only need to wipe out the few pockets of resistance, and achieve one more goal: the reincarnation of Darkseid himself.

In most stories where a villain tries to take over the world, the story we see is the one about preventing it from happening. What’s different here is that the heroes have lost. The invasion has succeeded, and it’s about trying to throw off the occupation. While the “watchtowers” are scattered around the globe, there’s a sense of the heroes’ forces as the French Resistance from World War II. (This is no doubt enhanced by having the resistance led by the original Green Lantern, who actually fought in World War II.)

Admittedly it covers some of the same ground as the “Rock of Ages” storyline from Grant Morrison’s run on JLA, but Final Crisis is emotionally more devastating than Rock of Ages. It takes place now, with characters and a world as we’re used to seeing them, not in some ten-years-distant future. (Though come to think of it, “Rock of Ages” came out about ten years ago, didn’t it?) And knowing how quickly the world was transformed makes it even worse.

There are a few things that don’t quite work. A lot of the dialogue, particularly the technobabble, the speechifying, and the scene in which two Flashes pause to catch their bearings, is stilted or doesn’t quite make sense. As with the first few issues, transitions between scenes are often abrupt. And some story elements just aren’t given enough space to develop. Much of the issue is devoted to characterization, which personally I don’t mind, but I know many readers are in it for the action and battles, and there’s only a few pages of actual fighting.

Spoilers after the cut: Continue reading →