Review: Animal Man - Deus Ex Machina

When a terrible tragedy befalls his family, an angry Animal Man embarks on a journey to exact revenge on those responsible. Along the way he makes a terrifying discovery about himself – that he is a fictional character living in a comic book series.

Animal Man: Deus Ex Machina collects Animal Man issues 18-26, written by Grant Morrison.

Deus Ex Machina serves as the final bow in Grant Morrison’s tenure on Animal Man, becoming a culmination of all of the themes and concepts Morrison had touched upon in preceding issues. While it may have started out as a traditional superhero book, Animal Man abandons all pretenses and becomes the ultimate in all things Meta. As such, there’s a heck of a lot of dialogue regarding the nature of comic fiction and the complications of writing for a serial medium. This includes engaging with discussions regarding what happens to characters between panels, how large scale events affect continuity, and the reality of what happens when characters are not being used by a writer.

One of the most poignant sequences in this collection features Animal Man venturing into limbo, where he encounters comic book characters that have been discarded by their writers. It’s a humanistic approach to storytelling that gets readers to think about the medium of fiction. When a character is not currently being used by a writer, where do they go? Well, they remain in a kind of hypothetical limbo until someone deems them worthy. A similar series of events take place prior to this, where we see the many characters written out of continuity due to Crisis on Infinite Earths. There’s a sense of lamentation towards the Crisis and the loss that happens when change occurs.

The ultimate issue collected here, issue 26, features Animal Man coming face to face with his writer. Grant Morrison’s insertion into the narrative brings the series to the height of metafiction, which subsequently forces readers to confront deep, existential subjects. Life and death become the central themes within this collection, with Animal Man insisting that the fictional death of his family was unfair and Morrison countering that with the real life loss of his cat. Morrison also continues to tackle the very subject of writing. He questions the effectiveness of writing about animal activism out of the fear that it can become too preachy, much like he criticizes the gritty nature comic book fiction had taken and how the return of Animal Man’s family may seem too predictable.

As a whole, Deus Ex Machina tells us more about Grant Morrison than it does Animal Man. Our titular hero flitters about trying to put his life back together and find meaning in the loss of his family, yet he’s merely a vehicle with which Morrison drives at a series of difficult topics regarding life, death and fiction. Though this collection pushes against the conventions of fiction and acknowledges the reader explicitly, Morrison also shows he’s capable of crafting a story and smartly wrapping up an impressive comic book run. Even at his most unconventional, Morrison (perhaps unknowingly) wraps up the various loose ends present in the book, fills in all of the plot holes and ultimately nails down who Animal Man is in this Post-Crisis continuity.

RATING: B

Review: Green Lantern Volume 2 - The Revenge of Black Hand

When Sinestro is abruptly kidnapped by the Indigo Tribe, Hal Jordan must venture off to the planet Nok in order to rescue his new partner. He soon discovers what they have in store for Sinestro, along with what their true purpose was when they were founded by Hal’s predecessor Abin Sur.

Then, Black Hand makes a play for total dominance of Earth. The only thing that stands in his way is Hal Jordan.

Green Lantern Volume 2: The Revenge of Black Hand collects issues 7-12 of Green Lantern, written by Geoff Johns and illustrated by Doug Mahnke.

The Revenge of Black Hand is a well-written exploration of the origins of the Indigo Tribe, as well as the continued development of the villainous Black Hand. Writer Geoff Johns deftly handles these tasks by treating readers to complex themes and excellent character work. His strength with dialogue and character interaction is evident in this collection, particularly since it’s so tightly focused on such a small cast. There’s tremendous depth to Hal, which is to be expected, but Johns also ensures that the reader is rooting for Sinestro. While he may have been a villain for several decades, the recent turn towards depicting him as an antihero is absolutely riveting.

In many ways, the origins of the Indigo Tribe are merely a confirmation of what has previously been hinted at. They were formed by Abin Sur to combat the Guardians of Oa, after he discovered a prophecy detailing the Guardians’ eventual betrayal of the Green Lantern Corps. He sought out the universe’s most dangerous criminals to fill the ranks of this new Corps, giving them rings that would force them to confront their past misdeeds. When they’re removed, we’re initially led to believe they revert back to what they were. However, Johns reveals a potential effectiveness to the Indigo Tribe’s rings. Iroque is shown to have been deeply affected by her past decisions and embodies the compassion that the Indigo Tribe is powered by, which proves she’s perhaps one of the most dynamic and layered characters to have come out of The Blackest Night saga.

The second half of this volume details Black Hand’s escape from Nok and his subsequent attempt to take over the Earth (again). In this arc, we get a lot of great imagery and the unlikely bond between Hal and Sinestro tightening. Though not as engaging as the preceding arc involving the Indigo Tribe, it’s still a worthwhile read nonetheless. It is important to note that it also functions as a prelude to Rise of the Third Army.  This leads to the abrupt (and largely undesired) removal of Hal and Sinestro from the title.

As can be expected, Green Lantern Volume 2: The Revenge of Black Hand is a satisfying read from start to finish. Very few writers create such engaging stories for the Green Lantern mythos as Johns, and it certainly helps that he has such a talented artist as Doug Mahnke on hand to bring everything to life. It’s dynamic, funny, action-packed and has a great deal of depth.

RATING: B+

Review: Animal Man - Origin of the Species

When the heroine Vixen is stalked by an invisible foe, she seeks out Animal Man for help in identifying this mysterious villain. This leads them on an adventure to Africa, where Animal Man learns the true origins and nature of his powers.

Animal Man: Origin of the Species collects issues 10-17 of Animal Man and Secret Origins #39, written by Grant Morrison and illustrated by Chaz Truog and Tom Grummett.

Origin of the Species is notable for its shifting of Animal Man from a traditional superhero title to a self-aware piece of metafiction. Its opening arc is a classic team-up tale featuring the titular hero partnering with Vixen in order to stop an outlandish villain in his quest for power. In the process, Morrison tells and re-tells Animal Man’s origins. He draws attention to the then-recent Crisis on Infinite Earths, exploring the complications of an event that rebooted a large chunk of DC Comics’ continuity. This helps pivot the series towards self-awareness, emphasizing the fact that readers are reading a piece of comic book fiction.

There’s plenty to like about this collection, particularly due to the socially-conscious tone Morrison gives the book. In issue 13, Animal Man helps the former B’wana Beast seek out his successor. This leads them to South Africa, where apartheid has created unrest and has fostered an intense racism amongst its citizens. This issue is a scathing assessment of the mistreatment of Black South Africans while apartheid was in effect, which subsequently cycles into the creation of the character of Freedom Beast (the slightly less offensive successor of B’wana Beast). Issue 15 is especially heavy. Animal Man, in yet another team-up, partners with Dolphin in order to stop the annual dolphin hunt off the coast of the Faroe Islands. It’s an affecting read that shows how monstrous humans can be in their destruction of the natural world and is difficult to get through due to the sheer violence inflicted upon the dolphins in the story. A couple issues later, we see Animal Man struggling with the extreme behaviour exhibited by the animal rights activists he’s chosen to ally himself with. It shows the flipside of activism, particularly the way in which people can turn from heroes to extremists. There’s a fine line and Morrison smartly acknowledges this.

I applaud Morrison for his ability to tackle of a lot of different themes and for his desire to tell stories that were, at that time, atypical to the superhero genre. As a whole, Origin of the Species seems inconsistent. This is due to the fact that Morrison primarily sticks to single issue storytelling, which means he often plays fast and loose with what he wants to address at any given time. However, this is also the book’s greatest strength. It’s a breezy read and it never extends a plot longer than it needs to be. At the same time, it’s also smart and interacts with topics that are still relevant today. As a side note, I’m also appreciative of the shift in Ellen Baker’s character. Previously, I’d criticized Morrison for portraying her as a shrew. In this collection, she’s far more multi-dimensional and we’re given a greater glimpse into her role as a working mother and wife. Overall, Origin of the Species proved to be an impressive read and an excellent example of the storytelling potential of the late 1980s.

RATING: B+

Review: Green Lantern Corps Volume 2 - Alpha War

When John Stewart is put on trial for the murder of a fellow Green Lantern, it ignites a war between the Green Lantern Corps and the elite Alpha Lanterns. Guy Gardner leads the charge as he seeks to free his friend from what he believes is unfair imprisonment. What he doesn’t realize is that he and the Alpha Lanterns are merely pawns in the machinations of the Guardians of Oa.

Green Lantern Corps Volume 2: Alpha War collects issues 8-14 and 0 of Green Lantern Corps, written by Peter J. Tomasi and Fernando Pasarin.

Proving that no secret stays buried for long, writer Peter J. Tomasi explores the consequences and psychological complications of John Stewart’s actions during the Corps’ conflict with the Keepers. Having killed another Lantern to protect the safety of Oa, John Stewart lies about doing so and this fabrication eventually bites him in the ass. While his actions were well intentioned, Tomasi illustrates that killing another individual means something and he rightfully puts John through his paces. This is played out courtroom style by seeing a deplorably one-sided trial where the Alpha Lanterns unilaterally declare John Stewart guilty and demand his execution. It’s an interesting change of pace for this title after its opening arc, one which builds upon the complexities of truth and justice.

Even though Alpha War posits John Stewart at the center of the conflict, Guy Gardner once again becomes the star of the show. The major issue I had with the preceding trade of this series was that, despite the fact that it’s billed as being about the Green Lantern Corps, very few of the characters are fleshed out very well. This trend continues here, with the exception of Guy Gardner. In this collection, we see his New 52 origins along with his growing evolution as a key member in the Corps. We are also witness to him blossoming into more of a leadership role. Anyone who isn’t Guy mostly fades into the background, including John Stewart.

Peter J. Tomasi and Fernando Pasarin prove once more to be an effective team with Green Lantern Volume 2: Alpha War. The courtroom-inspired drama is riveting, if a bit rushed, and the continued development of Guy Gardner is a direction I support wholeheartedly. The lack of attention paid to the other characters in this book is still disconcerting, but fans of Green Lantern will no doubt still find Alpha War to be a satisfying read. For me personally, I’m also happy to see a conclusion to the Alpha Lantern saga that began Pre-Flashpoint. It wasn’t a concept I enjoyed (particularly because it turned one of my favourite Lanterns – Boodikka – into an emotionless automaton), so I’m glad to have them sidelined permanently.

RATING: B

Review: Animal Man

Having retired from his work as a Hollywood stunt man, Buddy Baker devotes himself to becoming a full-time superhero. As Animal Man, Buddy must juggle his family life (which includes a disapproving wife, a rebellious preteen son and an inquisitive young daughter) along with his heroic duties. Can this D-lister make it big and prove to his family that he can make a difference in this world?

Animal Man collects the first nine issues of the series written by Grant Morrison and illustrated by Chas Truog and Tom Grummett.

Originally published in 1988, Animal Man came at an interesting time in DC Comics’ publishing history. The company had recently rebooted its continuity and had begun to shift towards more creator-focused material. This included releasing titles with more mature themes, which no longer bore the Comics Code Authority stamp of approval. Grant Morrison and Animal Man were part of this new era, with the former becoming a quirky book that tackled real world family dynamics and environmental issues.

This collection begins with a multi-issue arc where Animal Man investigates a break-in at an animal research facility, thus putting him in direct conflict with a seemingly villainous B’wana Beast. Meanwhile, Ellen Baker struggles with her husband’s decision to become a superhero in between looking after their children and working as a storyboard artist. In these issues, Morrison does a superb job of establishing the cast and distinguishing their personalities in a way that feels organic. He’s most successful at making them relatable, which is aided by the fact that Buddy is quite clearly intended to be an everyman. Aside from a rather puzzling (and uncomfortable) scene wherein Ellen is accosted by a disgusting hunter in a forest, this arc is well-written and engaging. Morrison’s decision to take aim at animal testing, pivoting the theme of the series towards animal rights, is clever and unique.

The issues that follow the opening arc are one-and-done stories, which all vary in quality and memorability. There’s some very clear experimentation going on and this helps guide the title towards its eventual transition to being a Vertigo imprint. For instance, one issue sees Animal Man encountering a humanoid coyote that seemingly cannot be killed. One scene involves a pseudo-Looney Tunes sequence wherein we see the origins of this coyote and why he cannot die. It’s certainly not something you’d expect from a superhero comic, but was not wholly unusual given the level of experimentation with the genre around this time.

Action and story aren’t the focus of Animal Man. Anyone expecting pulse-pounding suspense will be sorely disappointed. Instead, the series is more firmly rooted in the exploration and development of its characters. It’s not hard to relate to Animal Man. He’s just some guy trying to raise a family while following his dreams and figuring out just who the hell he is in the process. His budding interest in championing for animal rights and his decision to commit to vegetarianism endears him personally to me, as I myself am an animal lover. While Buddy is multi-dimensional and easy to relate to, I can’t say the same of his wife. Morrison casts her exclusively as a nagging shrew, constantly dogging Buddy for his every decision. Though she certainly has valid reasons to express concern over Buddy becoming a hero and not being forthcoming with her, her entire role in the series thus far seems to be all too stereotypical. It would have been far more interesting to know what makes Ellen Baker tic and to better illustrate her parenting style, thus helping her seem more sympathetic.

Animal Man is a fascinating blast from the past. It’s a taste of the creative boom that occurred in the late-‘80s at DC Comics. Morrison does a fantastic job of presenting Animal Man to his readers and creates a truly unique comic that somehow typifies the era in which it was originally published. Similarly, Chas Truog delivers some really dynamic art as the book’s primary penciller. The style is very sparse and simple, allowing for characters to be expressive and this further makes room for some fantastically vibrant colours. Animal Man is a great title for anyone looking to delve into back issues of one of DC’s most underrated heroes. It’s also perfect for people who are fans of Grant Morrison as a writer.

RATING: B

Review: Green Lantern Corps Volume 1 - Fearsome

After news of a rash of attacks on members of the Green Lantern Corps reaches Oa, John Stewart and Guy Gardner appoint themselves leaders in the investigation. They soon discover that it is part of an elaborate plan hatched by the mysterious beings known as the Keepers to bring down the Corps as retribution for the sins of the Guardians.

Green Lantern Corps Volume 1: Fearsome collects Green Lantern Corps issues 1-7, written by Peter J. Tomasi and illustrated by Fernando Pasarin.

As far as Green Lantern stories go, Green Lantern Corps Volume 1: Fearsome is a satisfying and compelling read. Writer Peter J. Tomasi smartly builds the book around John Stewart and Guy Gardner, who both act as the grounding force and emotional focal points for the narrative. It begins with John and Guy coming to terms with how inept they are at maintaining a sense of normalcy on Earth, thus taking off into space in search of something to do as Lanterns. They wheedle their way into an investigation of a series of attacks on members of the Green Lantern Corps. They soon stumble upon a secret buried by the Guardians, which now threatens to destroy the Corps itself.

Though John and Guy are our guides throughout this story, it is the latter that stands out the most. His rebelliousness and willingness to do whatever it takes to save the day makes him an unpredictably fascinating character to observe. Of course, Guy’s prominence is also due to the fact that – spoiler alert – John is captured for a good chunk of this collection. Even still, there’s something very dynamic about Guy when compared to the very stuffy John Stewart.

As far as the narrative goes, it’s quite engrossing. Tomasi develops the story as if it were a mystery, only giving readers the bare essentials of what they need until he makes the big reveal towards the arc’s climax regarding who the bad guys really are. Much like Geoff Johns on Green Lantern, Tomasi is clearly interested in building on the mythology of the Corps and adding additional layers to their history. The concept behind the Keepers is really interesting and gives readers yet another reason to distrust and despise the Guardians.

While this collection is enjoyable to read, it does have its share of problems. For a comic titled Green Lantern Corps, the book does very little to actually highlight or flesh out the various members of said organization. Tomasi features a whole slew of them, but none seem to be anything more than one-dimensional archetypes. Sure, Guy and John (to a lesser extent) have tremendous depth – but they’re not the only characters here. This also means that there’s a distinct lack of active female representation in the title. Prior to the New 52, Green Lantern Corps developed Arisia and Soranik Natu into multi-dimensional heroines. In these seven issues, we see Brik and Sheriff as mere accessories to the story. The solution would have been for Tomasi to not cram so many characters into the narrative and to instead focus on a core group of five or six characters with whom the readers could have invested in.

For fans of the world of the Green Lantern Corps, this book should be a fun read. It’s suspenseful, action-packed and kind of gruesome. Tomasi writes an incredible Guy Gardner, while Pasarin’s art is dynamic in its expressiveness. As a whole the cast can be a bit bland, but the themes and story building make up for it.

RATING: B

Review: Justice League - Throne of Atlantis

When an American submarine is mysteriously attacked, the Justice League is deployed to investigate. They soon discover that the sub was assaulted by Atlantean warriors, prompting the team to scramble to find the mythical underwater kingdom before a war is unleashed on the surface.

Meanwhile, the eldest son of the Queen of Atlantis must learn to accept his heritage and prevent his younger brother from enslaving the world above.

Justice League: Throne of Atlantis is a 2015 animated film starring Jason O’Mara, Jerry O’Connell, Rosario Dawson, Nathan Fillion, Shemar Moore, Sean Astin, and Matt Lanter. It is an adaptation of the graphic novel Throne of Atlantis, written by Geoff Johns and illustrated by Ivan Reis and Paul Pelletier.

Justice League: Throne of Atlantis functions as both a sequel to JusticeLeague: War and as an origin story for the hero Aquaman. As such, this is a movie that struggles with what it wants to be. On the one hand, it’s the story of how the Justice League accepts their role as Earth’s greatest heroes. On the other, it’s the story of how the half-blood prince Arthur Curry becomes the King of Atlantis. These two narratives are constantly at odds with one another, warring for prominence over the course of the film’s 72 minute running time.

By eschewing Aquaman from the preceding film in this series and shoehorning his narrative into the story of Orm’s war on the surface world, we get a surprisingly overstuffed film despite its relatively short running time. What we get a lot of are great character moments. We see Cyborg’s struggle to embrace his humanity even though he is mostly machine, leading to some standout interactions with the civilian Sarah and his teammate Shazam. We also get some cute moments between Superman and Wonder Woman, who have begun dating due to their mutual similarities. The majority of the attention though goes towards Aquaman. Though this should be a good thing, the problem is the focus shifts too often with how we’re supposed to empathize with and relate to him. The film deals with his mourning of his father, the impending responsibility of ruling Atlantis, his budding attraction to Mera, his hatred for his half-brother Orm, and his mixed feelings towards his mother. While all of these things are fantastic and worthy of being explored, the fact that Throne of Atlantis attempts to tackle all of these subplots makes the film pretty crowded and unfocused.

Much like Justice League: War, this film struggles with its cast and finding the right balance. Also like its predecessor, it gives us a terrifyingly powerful villain and some incredible action to go along with it. Orm is presented as the Big Bad of this movie and he truly does live up to that status. He single-handedly takes down the Justice League in one of the most harrowing climactic final battles within the DC Universed Animated Original Movies line. He’s brutal and relentless in his pursuit for power, viewing everyone around him as weak. It’s clear he places more capital on politics and legitimacy than love, which makes him extremely dangerous.

The animation from this line of films continues to impress. It’s clean, expressive and each character has his or her own unique look. The new characters have pretty neat designs. Aquaman is very sleek and his costume is a nice modern update on his classic orange and green uniform. Queen Atlanna is another standout, particularly due to her elegant styling. This gives her a sense of gravitas. There is one disappointment though – Mera. I absolutely adore the character and think she’s portrayed as the fierce warrior she truly is. Sadly, her design is lackluster. Her hair is pulled tight into a high ponytail, which somehow makes her look bald. Her headdress isn’t terribly pretty and her outfit itself looks as if it’s a knock off of Chun-Li’s blue jumpsuit from the Alpha line of Street Fighter video games.

Even though Justice League: Throne of Atlantis was somewhat below Justice League: War in terms of quality, I still found it to be a highly entertaining film. Despite its unfocused narrative, the characters are all very distinct and are performed well by a talented voice cast. It’s a film that gives us a fresh, new take on Aquaman and provides us with hands-down the most badass version of Mera we’ve seen in an adaptation thus far. Justice League: Throne of Atlantis is enjoyable as an Aquaman film and does its job of establishing him as a force to be reckoned with. However, as a Justice League movie, it falls short of its target.

RATING: B 

Review: Green Lantern Volume 1 - Sinestro

When his homeworld is enslaved by his former army, the newly re-appointed Green Lantern Sinestro must seek out the aid of disgraced Lantern Hal Jordan for help in freeing his people. Together they must venture to Korugar and shut down the very power source for the Sinestro Corps.

Green Lantern Volume 1: Sinestro collects issues 1-6 of Green Lantern, written by Geoff Johns and illustrated by Doug Mahnke.

Geoff Johns continues to build on his legacy as the premiere Green Lantern writer by trying something a little different – re-introducing Sinestro as a hero looking to dismantle the very Corps he once created. It’s a simple yet effective premise that takes Hal Jordan’s most iconic nemesis and re-imagines him more as a flawed antihero. By 2011, when the issues collected in Green Lantern Volume 1: Sinestro were originally published, Johns had been the primary creative force behind the Green Lantern for roughly seven years. He was responsible for breathing new life into that section of the DC Universe and turned it into a veritable “franchise.” With this arc, we see him not only creating new concepts, but also undoing some of his previous work. It’s an interesting read, since it’s like a shedding of skin.

At its core, Green Lantern Volume 1: Sinestro is about two men. Plain and simple. It’s an intimate character examination of just who Sinestro and Hal Jordan are. The former is portrayed as an immensely multi-dimensional character who is clearly loyal to his people, but his past actions and “bigger picture” attitude has led many to distrust him. As a point of comparison, he is to Hal Jordan who Magneto is to Professor Xavier. Meanwhile, we see Hal Jordan struggling to find himself. Who is he without a Green Lantern ring? Can he really be happy unless he’s zipping all over the universe saving the day? Will he ever be able to settle down with his lady love Carol Ferris? There’s this brilliant sense of co-dependency between Hal and his status as a Green Lantern, one which proves he’s far more than the Silver Age cardboard cut-out many claim him to be.

Ultimately, Green Lantern Volume 1: Sinestro is comparable to Johns’ work on Aquaman from the New 52. It’s a concise, straightforward story with a small cast and plenty of great action. The character development and dialogue is on point, while Doug Mahnke’s art is superb. There is one downside though. Unlike Aquaman, this collection isn’t as easy to dive into as a casual reader. Since all of Johns’ previous Green Lantern material is canon, new readers may find it difficult to contextualize what’s going on. As such, it’s best to start with Rebirth and read on from there.

RATING: B