Showing posts with label creator: tom king. Show all posts
Showing posts with label creator: tom king. Show all posts

22 August 2023

Hugos 2023: Supergirl: Woman of Tomorrow by Tom King and Bilquis Evely

Supergirl: Woman of Tomorrow

Collection published: 2022
Contents originally published: 2021-22
Acquired: July 2023
Read: August 2023

Writer: Tom King
Artist: Bilquis Evely
Colorist: Matheus Lopez
Letterer: Clayton Cowles

This is Tom King's third nomination for the Hugo Award for Best Graphic Story or Comic, this time with artist Bilquis Evely for a Supergirl story. While the previous Tom King comics I've read have all been about taking apart heroes, breaking them down in the face of the violence at the core of the medium, this one takes a different approach to Supergirl, showing what makes her keep going (even if admitting to a bit of tragedy and darkness).

The basic premise is that on Kara's twenty-first birthday, she travels to an alien planet with a red sun in order to get drunk and feel it without her powers; she happens to get caught up in the quest of a girl named Ruthye to hunt down the man who killed her father—and then that killer makes off with Kara's ship into space. So Supergirl and Ruthye go on a quest across galaxies to find that man and bring him to justice. The story is narrated by Ruthye, and we entirely see Supergirl through her eyes, always at a remove. The narration is dense, but it really works, and what the narration doesn't give us, Evely's beautiful art does, highlighting the strength and flaws of this powerful woman.

The story shows what make Supergirl Supergirl: not the powers (though they certainly help), but how she chooses to use them—which goes back, as one flashback chapter points out, to before she had the powers. I though that issue (#6: "Home, Family, and Revenge") was the single best Supergirl origin I have read, really tapping into the tragedy in a way that other origins (such as Jeph Loeb and Michael Turner's shit) have neglected, and it's beautifully paired with Supergirl riding Comet the Super-Horse in a desperate race. King embraces the tragedy of Kara Zor-El, but he also doesn't shy away from the ridiculousness of the history of the character.

Overall, I really liked it. Surely the best of Big Two superhero comics, and I was glad to have an excuse to pick it up and read it. It's my first Best Graphic Story finalist, but it feels like the one to beat.

(I will say, though, that content appropriateness choices at DC continue to baffle me, just like with Strange Adventures. Genocide and mass graves? A-okay! Someone saying "fuck"? Better cover that #%$&@ up with grawlixes! They throw me out every time. Either actually swear or don't.)

31 May 2022

Hugos 2022: Strange Adventures by Tom King, Mitch Gerads, and Evan "Doc" Shaner

And so it begins! As has been the case since 2017, I am voting in the Hugo Awards this year. Most finalists, I read either via the voter's packet or the library, and those I just write up as part of my final ballot posts. But I usually buy all the Best Novel finalists, plus any other finalists of sufficient interest, and those I'll be writing up on Tuesdays over the next few months, starting with...

Strange Adventures

Collection published: 2021
Contents published: 2020-21
Acquired: April 2022
Read: May 2022

Writer: Tom King
Artists: Mitch Gerads & Evan "Doc" Shaner
Letterer: Clayton Cowles

Tom King definitely has a "thing." I've previously read his work in The Omega Men (2015-16), The Vision (2016-17), and Mister Miracle (2017-19), and in my review of the last one, I wrote, "This feels to me like it finishes a thematic trilogy.... Like those stories, it's about reconciling superpowered violence with living an everyday life." Well, the stories may be thematically connected, but his work on Strange Adventures shows that he's not done with those ideas yet. Through the story of Adam Strange, he refracts them in a different way, and I would describe what's as stake here as masculinity, violence, and empire—all through the medium of superhero adventure comics, of course.

Adam Strange is the "Man of the Two Worlds," a human from Earth who fights to defend the planet Rann. Strange Adventures follows him in two parallel stories: in the past, he fights alongside his wife Alanna to defend Rann from the deadly Pykkt invasion. In the present, the two now reside on Earth, where Adam has become a hero and celebrity for defeating the Pykkts... but their daughter is dead, and the promise of a Pykkt invasion of Earth looms. We see what Adam and Alanna did in sequences illustrated by Evan "Doc" Shaner in the past while the Stranges defend themselves against accusations of impropriety in the present, especially a Justice League investigation run by Mister Terrific.

Beware the Pykkts!
from Strange Adventures vol. 5 #1 (art by Evan "Doc" Shaner)

Fundamentally, what King and his collaborators have done here is to take a Space Age gee-whiz comics concept and darken it. In the original series, Adam travels to Rann via zeta beam, fights alien monsters with science knowledge, kisses Alanna, and goes home, ad infinitum. I do feel like I could nitpick how King did this to death if I wanted to. Is this series doing anything that DC's last dark Adam Strange reinvention didn't? Well, actually, yes. Richard Bruning's series was interested in the histories of both Adam and Rann: what would make a person want to abandon his planet like this? why would a technologically advanced alien civilization need a guy from Earth to save them all the time? King doesn't really care about this; Adam's Space Age adventures are mostly there to contrast the horribleness and moral compromise of the Pykkt invasion. Along those lines, then, I actually wanted more deconstruction of the relationship between Adam and Rann: it kind of reads like the kind of thing we might now call a "white savior" narrative, and though there are hints of it, that's not really the story King is telling either, and I guess I can't begrudge him for that.

There is this interesting parallel between Earth and Rann, in that we want the throwback as much as they do: we want the "white savior" to come in and save us, despite—or, well, because of—the cost.
from Strange Adventures vol. 5 #9 (art by Mitch Gerads)

As you read the book, it becomes clear that the present-day story is Alanna's, not really Adam's. And, after all, the book is Strange Adventures, not Adam Strange: it doesn't specify which Strange in the title. The relationship between Adam and Alanna is the crux of the whole book, and it's fascinating and terrifying. Adam, as the book flags up on occasion, especially through Adam's media appearances on contemporary Earth, is a man. He's the kind of guy who does what needs to be done to save his people, and then romances a woman. This is shown to be Alanna's own doing in many ways: she shaped Adam into being the kind of man she wanted, and through extension, Rann needed. This worked for him for decades!

She may look nicer...
from Strange Adventures vol. 5 #5 (art by Mitch Gerads)

What Strange Adventures does is take that concept of masculinity and put it through the wringer. What if "what needs to be done" is more complicated than decisively implementing a science idea you've had? As the war against the Pykkts goes on, Adam must do more and more, pushed by Alanna on every step. Soon we see the dark side of that masculinity—and in the book's ultimate revelation, so does Alanna. Adam was pushed into a situation where his masculinity became untenable; in order to save the day in the way he was supposed to yet again, he had to betray the precepts he supposedly stood for. You can see both how Alanna pushed him into it... and how in becoming the person Alanna wanted him to be, he ultimately snapped, revealing the weaknesses at the heart of masculine identity. Alanna, in the end, recognizes this but doesn't let herself see it. In a sense, this story is about revealing that Adam Strange is a villain, but Adam is only a villain to the extent that masculinity has forced him to be one, and Alanna is the embodiment of the enforcement of masculinity. She makes him live up to an ideal that is ultimately impossible to live up to.

...but she is the truly dangerous Strange.
from Strange Adventures vol. 5 #7 (art by Mitch Gerads)

My biggest complaint would be the use of grawlixes, actually. You can show a guy's head explode, and show multiple sex scenes, but you can't use the work "fuck"? It threw me out of the moment almost every time.

Like clearly this panel would be better if it just said "Just fucking try to be a man."
from Strange Adventures vol. 5 #10 (art by Mitch Gerads)

So, yeah, there's a lot going on here, and I really enjoyed reading it. I think it might be my favorite of the Tom King comics I've read, though maybe that would also be The Omega Men. As a writer, King is replete with small touches that make things come alive. There are good jokes, some nice media and political commentary, a neat take on Mister Terrific, good characterization for all the different superhero cameos (Superman, Batman, and even Booster Gold), and interesting epigraphs. The art is perfect. I liked Mitch Gerads on Mister Miracle, but he absolutely kills it on the present-day sequences here, especially anything involving Alanna. Evan "Doc" Shaner has been a favorite of mine since I read his Convergence: Shazam miniseries, and his clear, heroic art is beautiful on its own terms and beautiful as a contrast to the horrific events it depicts. I assume Gerads and Shaner did their own coloring because there's no credited colorist, and the colors are great, too, really adding to the mood and tone and surrealism of the piece as appropriate.

Arming herself to do battle.
from Strange Adventures vol. 5 #10 (art by Mitch Gerads)

If King stops doing his dark deconstructions of male superheroes here, it will be a worthy conclusion. But if he keeps going, I will be along for the ride. And when will Evan Shaner get something other than Future Quest to really shine on!? 

But I will take whatever Doc Shaner I can get.
from Strange Adventures vol. 5 #2 (art by Evan "Doc" Shaner)

Side note: over the past few years, primarily beginning with 2009's Strange Adventures vol. 3, DC has associated Adam Strange with the title Strange Adventures. It's a natural association if you go by the name, but historically, Adam Strange's adventures mostly appeared in Mystery in Space. It occurred to me near the end of the volume that "Mystery in Space" would actually be a plausible collection for this story, too... and then like a page later, Alanna used it in text!

05 August 2019

Review: Mister Miracle by Tom King, Mitch Gerads, et al.

Comic trade paperback, 300 pages
Published 2019 (contents: 2017-19)
Acquired February 2019
Read March 2019
Mister Miracle

Writer: Tom King
Artist: Mitch Gerads with Mike Norton
Colorist: Mitch Gerads with Jordie Bellaire
Letterer: Clayton Cowles

This feels to me like it finishes a thematic trilogy Tom King began in The Omega Men: The End Is Here and The Vision. Like those stories, it's about reconciling superpowered violence with living an everyday life. DC has often struggled to use the Fourth World in compelling ways post-Kirby, but King does great by them through doing something very un-Kirby. They're mythic gods on another plane, beings of immense power, but they're also kind of human; who else would write a scene where Mister Miracle and Kanto piss into a bottomless pit on Apokolips during a break in peace negotiations?

On another page, the panels actually follow the descent of a piss droplet into the pit as they talk.
from Mister Miracle vol. 4 #9 (art by Mitch Gerads)

King delves into some aspects of the Fourth World mythos that I feel like many have ignored. What was it like for Scott and Orion to both be sons of Highfather, in different ways that left them both feeling out of place? (Orion was adopted, and Scott given up to Darkseid.) What were the scars but also weird pleasures of being raised on Apokolips for Scott and Big Barda? If both Highfather and Orion were out of commission, wouldn't Scott become the new ruler of New Genesis?

Maybe this was my bias as a new father, but I loved all the parenting stuff in this series. Even this.
from Mister Miracle vol. 4 #2 (art by Mitch Gerads)

This is a story about war, about family, about escape. It's disturbing and hilarious in equal measure. Escape is the new component added here; I think both Omega Men and Vision suggested there was no such thing, but Mister Miracle always escapes. But what is escape when real life is the trap? At some point I need to go back and read all three comics straight through; I suspect it will be very rewarding.

18 March 2019

Review: The Vision by Tom King, Gabriel Hernandez Walta, et al.

Comic hardcover, n.pag.
Published 2018 (contents: 2016-17)

Acquired January 2018
Read March 2018
The Vision

Writer: Tom King
Artists: Gabriel Hernandez Walta & Michael Walsh
Color Artist: Jordie Bellaire 
Letterer: Clayton Cowles

I read the first half of Tom King and Gabriel Hernandez Walta's run on The Vision when it was a finalist for the Hugo Award for Best Graphic Story, and I loved it (it got my first place vote in that category... even though it came in sixth), so I knew that once a hard copy collection of the whole run was out, I would pick it up.

The Vision is a well-done comic, a meditation on both family and man's inhumanity to man told in the form of superpowered robots moving to the suburbs. Its power rests in its stark simplicity-- much like the power of its central character. Both narration and art are very matter-of-fact about violence; horrific things being related in unemotional terms. It's a solid piece of comics, really well put together, showing the power of the genre of superhero comics when you pluck at the strangeness of its edges.

09 April 2018

Review: The Omega Men: The End Is Here by Tom King, Barnaby Bagenda, et al.

I had three reviews go up at Unreality SF, all of 2017 Big Finish Doctor Who audio dramas. Two first Doctor stories, "The Destination Wars" and "The Great White Hurricane," and two sixth Doctor stories, The Behemoth and The Middle.


Comic trade paperback, n.pag.
Published 2016 (contents: 2015-16)

Acquired September 2016
Read January 2017
The Omega Men: The End Is Here

Writer: Tom King
Artists: Barnaby Bagenda, Toby Cypress, Ig Guara, José Marzan Jr.
Colorists: Romula Fajardo Jr., Tomeu Morey
Letterer: Pat Brosseau

In interviews about Threshold, Keith Giffen stated his intentions to bring in the Omega Men at some point. Clearly, we need to be grateful that he did not, because it might have prevented this comic from existing. Tom King and Barnaby Bagenda present the third incarnation of the Omega Men, but possibly the first to actually deliver on their potential-- they pick up on the morally ambiguous aspects of the Omega Men set up in the early issues of the 1983 Roger Silfer/Keith Giffen run to great effect. This version of The Omega Men is violent and harsh. Former Green Lantern Kyle Rayner comes to the Vega system to try to make peace, but finds that sometimes, violence is the only response to oppression. But this is a violence beyond that of most superhero-adjacent comic books. The nine-panel grid gives the proceedings a monotonous feel-- in a good way. It's like one of those movies where there are no cuts, you just have to watch the horrible things happen.

A prisoner of the nine-panel grid... just like he's a prisoner of THE OMEGA MEN!!!
from The Omega Men vol. 3 #1 (art by Barnaby Bagenda)

King was a CIA agent of some stripe before he became a comic book writer, and his depictions of the complications of the Vega system really benefit from this. The six worlds of Vega (gone are the umpteen worlds of the old days; Starfire's homeworld of Tamaran doesn't seem to be in Vega anymore) have been conquered by the Citadel. Vega is the only source of a precious mineral, and it's impossible not to see echoes of Western involvement in the Middle East for its resources. King and Bagenda depict a lot of local conflicts, too; it's not just Star Wars-style Evil Empire vs. Hapless Rebels. Each planet has its own factions, some of whom find merit in co-operating with the Citadel for whatever reason. You even have the planet Euphorix, where the Citadel resettled the Brahmins from another system to that planet, so there's its natives, plus the Brahmins, plus the Citadel. I liked the delving into religion, too: both the Citadel and Vega worship the same god, Alpha, the first cause, but the inhabitants of Vega also worship Omega, the end. There's a lot of nuance and story here.

Scrapps, the Patchwork Girl???
from The Omega Men vol. 3 #5 (art by Barnaby Bagenda)

The End Is Here makes up one longer story, but each issue is its own standalone, too, another piece in the puzzle that is the true agenda of the Omega Men, and the slow unlocking of their backstories, and the slow breaking of Kyle Rayner. The first couple I felt were the strongest, maybe because that was when the book was new and fresh and I had no idea what could happen. It did eventually settle into a pattern, but still found ways to surprise me, like with Kyle and the Princess Kalista in hiding on Hny'xx, the market world-- suddenly it was a survival thriller, as we got a taste of what it's like to just live in Vega when you can't rebel.

Life in dystopia is always so much fun...
from The Omega Men vol. 3 #7 (art by Barnaby Bagenda & Ig Guara)

If there was ever an argument for the New 52, this book was it. In my review of the 2005-06 Omega Men revival, I commented on how the core premise of the series mutated over time-- and by the point the Omega Men were appearing in R.E.B.E.L.S., a return to the original hook would have been inexplicable and impossible. The New 52 lets DC do that. Like the best reboots, this is a different angle on something that was there all along. The Omega Men had become sort of impotent and toothless-- look at how Tigorr went from savage beast to a one-eyed cigar-chomping stereotype. Fun, but not exactly a feral freedom fighter/terrorist. In The End Is Here, King and Bagenda bring The Omega Men back, the way they always should have been.

(Also the propaganda poster style covers by Trevor Hutchison are delightful. I would buy every one of them as a print if I could.)