Tag Archives: superhero comics

Panels of Awesomeness: Putin and Superman

By Rob Siebert
Fanboy Wonder

CREATORS: Geoff Johns (Author), Gary Frank (Penciller), Brad Anderson (Colorist)

THE SCENE: After a tragic accident in which Firestorm turns hundreds of people into glass statues, presumably killing them, Russian President Vladimir Putin is prepared to declare war on the United States. Superman arrives to resolve the matter peacefully.

WHY THEY’RE AWESOME: Naturally, Doomsday Clock has been working hard to mimic the tone of Watchmen. The ticking clock, the sense of inevitable impending doom, etc. Taking that into consideration, along with current world events, I’m actually surprised it took eight issues for him to show up. It’s incredibly surreal seeing him on the page like this. Talking to an American icon like Superman, no less.

It’s all very surreal. Uncomfortable, even. Which of course, it’s supposed to be. Especially when we see Putin getting mad, and saying things like “We are at war…” The fact that Gary Frank’s Superman looks so much like Christopher Reeve just adds to the weirdness.

 I really like the way Johns wrote Superman here. Peaceful. Non-violent. Only taking physical action when he has to, saving lives in the process. To some, that’s what makes Superman boring. But to yours truly, it’s just the opposite.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

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Astonishing Art: Robin by Marcio Hum

By Rob Siebert
Fanboy Wonder

My favorite Robin costume is the original one from 1940. The “pixie boots” costume, with the bare legs and the yellow cape. It may very well be the the most illogically flamboyant costume in the history of superhero comics. Especially in the context of Batman’s world. But its become iconic as the decades have gone by, no matter how much certain creators have tried to sweep it under the rug.

That’s why I love this piece by Brazilian artist Marcio Hum so much. It shows us the character in what may currently be his most popular (not to mention outrageous) incarnation from Teen Titans GO! It’s a really fun contrast with the classic Robin. Plus, the pencil sketch background makes the costumes bright colors pop that much more.

Hum has drawn similar pieces for Cyborg, Starfire, Raven, and Beast Boy. They can be found on his Instagram. Hum is also the designer of Mini Co Collectibles.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

Epic Covers: “Vote For Me, Or I’ll Kill You!”

By Rob Siebert
Fanboy Wonder

This was a lot funnier when it was first published back in 2005. Nowadays, “Vote For Me or I’ll Kill You” sounds like an actual political slogan…

Batman: Dark Detective was a miniseries that reunited author Steve Englehart with artists Marshall Rogers and Terry Austin. They’re synonymous with some classic Batman stories from the ’70s, including “The Laughing Fish” and “Sign of the Joker.” They’re collected in a trade called Strange Apparitions, which has a special place on my bookshelf.

Though oddly enough, I can’t seem to locate Dark Detective among my back issues. Not that it was a landmark series, but it was definitely fun to see this team tell a Batman story in a modern context. If nothing else, I want to make sure this cover is in my collection. It’s a great addition to the legacy these men have.

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Epic Covers: Nightwing #50

By Rob Siebert
Fanboy Wonder

So yeah, they shot Dick Grayson in the head. That’s one of the latest stunts over at DC. Hey, at least he wasn’t a Heroes in Crisis casualty. Don’t think they wouldn’t have done it.

The gunshot wound leaves Dick with amnesia, and no memory of his life as a superhero. It’s too early to tell if this story is going to be any good. But it does have a lot of potential to make a statement about what Dick means to the DC Universe, not to mention the Batman family as a whole.

This cover is low-key epic. Amidst all its colorful competition, it didn’t exactly jump off the rack. But once you get a closer look, you see that it’s all in the details. Specifically, the scar itself…

I’m hardly an expert on scar tissue. Specifically as it relates to bullet wounds to the head. But this was convincing enough to convey that impact and awe that the cover is shooting for. The texturing, the look of the fold in the skin, the colors. It’s striking.

The big drawback? For the cover, they made the scar look like the Nightwing insignia. Lame.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com!

MMPR: Shattered Grid: 25 Morphinominal Moments, Part Five

By Rob Siebert
Fanboy Wonder

As it turns out, these last five moments from Shattered Grid all happened in Mighty Morphin Power Rangers #30. So a major tip of the hat to author Kyle Higgins, penciller Daniele Di Nicuolo, inker Simona Di Gianfelice, colorist Walter Baiamonte, and letterer Ed Dukeshire.

Furthermore, we need to send a major thank you to Ryan Parrott, Dan Mora, and everybody at Go Go Power Rangers. That series is great in its own right. But it’s provided some really nice supplemental material for our main story.

And thanks to everybody at BOOM! Studios for giving us better Power Rangers comics than we ever could have hoped for!

With that, it’s back to action!

(Part One. Part Two. Part Three. Part Four.)

26. Zordon and Rita

We’re starting on a subtle note here. Zordon and Kruger come to ask for Rita’s help in stopping Lord Drakkon. Rita responds as you might expect. But in trying to convince her, Zordon says something I didn’t expect…

“We have known each other for millennia, Rita. I would not be here now if I believed there was another way.”

What gets me about those lines is the sentence about them having known each other for so long. I doubt Kyle Higgins meant for it to stand out. But hearing Zordon appeal to his long-standing familiarity with Rita was interesting. Remember, these are two enemies. He’s the one who trapped him in a time warp, and he’s partly responsible for her being locked away in a dumpster for 10,000 years. And yet, in this hour of dire need, Zordon essentially uses their rivalry to appeal to her better judgment. It almost makes you look at the franchise’s original mentor and villain in a new light…

27. Rallying the Troops

Before the climactic battle begins, Jason gives a big rah-rah speech to all the Rangers who’ve come to help. Admittedly, it didn’t do much for me. What did, however, was this shot of all the Rangers and Megazords. There’s a lot of history in this panel…

28. Kimberly and Tommy
While Tommy obviously has a crucial role in Shattered Grid, let’s not forget that the Tommy Oliver of the BOOMverse, the Tommy our heroes knew and fought alongside, was killed. Plus, Kimberly held him as he died. Pretty heavy stuff. So when Jason hands her the Draggon Dagger, and puts her in charge of the Dragonzord, it’s a nice moment. But this has appeal in a larger scope as well.

From a character standpoint, there’s an argument to be made that Tommy should have given his powers to Kimberly at the end of “The Green Candle.” Obviously, the show was limited by the Japanese footage it had to work with. So it ultimately had to be Jason that got them. But it would have made a lot of sense for Kimberly, Tommy’s love interest, to be the one he passed his powers on to. All these years later, this is a nice tribute to a character fans still love and remember.

29. Enter Serpentera
Serpentera was essentially the Death Star of the Power Rangers universe. It was Lord Zedd’s personal zord, and had enough power to annihilate a planet. And it was huge. One of the biggest zords in the show’s history. As you can see at left, it could literally hold a Megazord in its massive jaws.

As any PR nut knows, Serpentera went out like a chump in “Forever Red.” But it gets a nice chance to shine during the big battle in Shattered Grid. We don’t see much of the actual zord, but that’s half the beauty of it. It’s so big, it can’t even fit within the confines of the comic book!

30. Siphoning the Power
We end on yet another reminder of just how much history we’re mining for Shattered Grid.

Lord Drakkon’s big plan is to steal morphers from each Ranger team, and get inside the Morphin Grid itself. In the above panel, we can see he’s assembled some kind of power siphoning device and plugged it in to the various morphers he’s collected. Represented are in Space, Lost Galaxy, Dino Thunder, Megaforce, Dino Charge, among others. I absolutely adore the attention to detail. This is as much an indicator as any of what a labor of love Shattered Grid is.

So once again, thank you to everyone involved. I can’t wait to see how it ends!

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Panels of Awesomeness: Spider-Man Annual #1

By Rob Siebert
Fanboy Wonder

CREATORS: Bryan Edward Hill (Author), Nelson Blake II (Artist), Alitha E. Martinez (Artist), Carlos Lopez (Colorist), Cory Petit (Letterer)

THE SCENE: In his early days as a hero, Miles Morales takes on a Skrull who is impersonating Spider-Man!

WHY IT’S AWESOME: Spider-Man Annual #1 was a welcome read this week, as last month Brian Michael Bendis officially put a bow on the ongoing adventures of Miles Morales. At least for now. My understanding is that a new series is in the works. You’d think there’d have to be, what with the Miles-centered Into the Spider-Verse hitting theaters in December.

In the meantime, most of this annual takes place “years ago,” just as Miles is becoming a hero. The book does a little retcon work here, trying to figure out where our hero was in the main Marvel Universe (as opposed to the Ultimate one, where he debuted) around the time of Secret Invasion. When Miles, Ganke, and their friends are attacked by Skrulls at a party in Soho, Miles is forced to take action. As awful icing on the cake, one of them is impersonating Spider-Man!

The ensuing battle gives us this page…

A bit cliched? Maybe. But when it’s done right, I’m a sucker for stuff like this. It’s important to remember how young Miles is at this point. When we first met him, he was only about 13 or 14. And yet, now he’s facing life or death against a monster. Literally, a monster. So to see him calm himself down, and almost rationalize the situation, is really cool. I love the line, “I can’t do this. But Spider-Man could.”

Then, to top it all off, he delivers a Spidey quip. Not a great one, mind you. But good, considering he’s a terrified teenager in a makeshift Spider-Man costume.

That’s another item to note: Nelson Blake II designed Miles’ makeshift Spidey suit for this outing. I dig it. The shirt is a little on-the-nose for what’s supposed to be a spontaneous costume. But it’s still fun. The goggles even give it a little bit of a Spider-Man Noir vibe.

Email Rob at PrimaryIgnition@yahoo.com, or follow Primary Ignition on Twitter.

A Doomsday Clock #1 Review – I Have a Bad Feeling About This…

TITLE: Doomsday Clock #1
AUTHOR: Geoff Johns
PENCILLER: Gary Frank
PUBLISHER: DC Comics
PRICE: $4.99
RELEAED: November 22, 2017

***WARNING: Full on spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Doomsday Clock #1 is a pretty good first chapter. Assuming you have an off switch for your conscience.

By now I really thought I’d be calloused to the idea of DC doing a sequel to Watchmen without the approval or involvement of author Alan Moore or artist Dave Gibbons. Not that they need it. They own the rights to the story and characters, and have been milking them ever since. Naturally, Moore has been sore about it for decades. Years ago the company even published several character-centric Before Watchmen prequel stories. So Doomsday Clock is hardly unprecedented. Throw in all the bits and pieces of Watchmen lore DC has sprinkled around since the Rebirth story began, and you’d think I’d be ready for this…

But Doomsday Clock #1 feels dirty just like Before Watchmen felt dirty. Realities of the publishing industry notwithstanding, this reeks of DC taking toys out of someone else’s sandbox. If you can ignore that side of things, I imagine Doomsday Clock simply becomes the latest Geoff Johns epic. But for many of us in the know, there’s a discomfort level to all this that isn’t going away.

Set several years after the events of Watchmen, we see that Adrian Veidt’s hoax to bring about world peace was only a short term success. Global tensions are at an all time high, as is the threat of nuclear war. Amidst all of this, Rorschach, or rather someone assuming the Rorschach identity, breaks two former supervillains out of prison to aid he and Veldt in setting the world right again. To do that, Doctor Manhattan must be found. But as we’ve seen, the former Jonathan Osterman has been busy making waves in the DC Universe. Worlds are about to collide.

When you come back somewhere after a long time away, you’re naturally curious to see what changed in your absence. Despite what you might call it’s lack of authenticity, parts of Doomsday Clock are intriguing from a world-building perspective. How exactly do things change after a giant alien squid is supposedly dropped on New York City? Not that much, apparently. The world we’re met with is very similar to the one we left. Distress over the airwaves, violence in the streets. The more things change, the more they stay the same. Even our narrator is the same, more or less…

Indeed, there’s a new Rorschach in town. We don’t know much about who he is, other than he works with Veldt, and has brown skin (shown above). I initially rolled my eyes at the idea of Rorschach being a “legacy character.” It’s a tried and true tool in the world of superhero comics. Have a dead hero? Just make a new one with the same M.O. But Rorschach had such a unique and distinct voice that it’s almost cringeworthy to use that trick with him.

But did they even have a choice? Rorschach is such a gigantic and integral part of Watchmen. We saw so much of that world through his eyes. You almost can’t revisit it without him. Plus, Watchmen had legacy characters. Like Doomsday Clock itself, I can see why you’d want to create another Rorschach, but something about it feels really wrong. And no, it’s got nothing to do with his race. Having him be black is fine. It doesn’t add or subtract anything, outside of making for a clever reveal.

Watchmen was never big on humor, per se. You can find things to chuckle about, but very little (if anything) is played for straight up laughs. That’s not the case with Doomsday Clock. There are a handful of funny lines and one full-on gag, most of which revolve around the ultra-serious Rorschach reacting to things. While the humor works, this isn’t a world we’re used to laughing at. Watchmen was big on darkness and despair. We see a rape, the murder of a pregnant woman, dogs being murdered with a meat cleaver, etc. So while it’s funny to see a character called the Mime pull imaginary weapons out of a prison locker (shown below), the tone shift takes some getting used to.

Technologically, the comic book industry has come a long way since Watchmen. The story had a pulpy aesthetic to it that was ultimately part of its charm. Doomsday Clock doesn’t try to replicate that. But I give artist Gary Frank and colorist Brad Anderson a lot of credit for making this look and feel like a story set in the same universe. The colors have a lot more depth and richness. But there’s nevertheless something familiar about those city streets we open up on, or the dark and dank feel of the prison. Letterer Rob Leigh even nailed Rorschach’s handwriting for the caption boxes. (Even though this isn’t the same Rorschach anymore. So does that even make sense?) Comparatively, Doomsday Clock is almost like switching your television from standard to high definition, with the one drawback being the loss of the pulp look.

Tacked on at the end of all this is none other than Superman. We flash back via dream sequence to Ma and Pa Kent driving a young Clark to senior prom. We’re reminded just how lonesome and isolated Clark’s secret can make him as he watches the other kids dance. We then see the tragic accident that killed his adoptive parents.

Oddly enough, this strikes me as a scene about Doctor Manhattan. Doomsday Clock is meant to be about a conflict between hope and cynicism. With the DC Universe representing hope, and Watchmen cynicism. Superman is, of course, an ever present symbol of hope and optimism. A man raised by loving parents who instilled him with a set of values and ideals. In contrast, Jonathan Osterman lost his mother at a young age, and was forced by his father to pursue a career in nuclear physics. Later, Doctor Manhattan’s powers left him increasingly isolated. He eventually regarded human life itself as insignificant. These are to men on polar opposite ends of a spectrum. Yet under different circumstances, Clark Kent could have become Doctor Manhattan. With a better upbringing, Jon Osterman could have been a symbol of hope…

With all this talk of hope and cynicism, Doomsday Clock has the potential to be very poignant, given the era we’re living in. But good or bad, it’s destined to have an asterisk next to it because of the circumstances with Watchmen and its creators. Much can be said about what rights creators should or shouldn’t have, as well as Moore’s less than sunny disposition. But what I keep coming back to is this: If I’d put my time, my energy, and my heart into making this world and these characters, and a big company was in a position to make a lot of money off them, I’d want to be listened to. I’d like to think certain things outweigh the importance of money. Like respect. Dignity. Integrity.

Perhaps that’s just blind hope.

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