JLA - The Justice League of America

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JLA: Superpower 1999 (SC GN) 64 pgs.

Written by John Arcudi. Pencils by Scot Eaton. Inks by Ray Kryssing.
Colours: John Kalisz. Letters: Ken Lopez. Editor: Peter Tomasi.

Rating: * * * (out of 5)

Number of readings: 2

The rise and fall of a new hero who joins the JLA.

One of the nice things about this is that it seems, more or less, like a graphic novel. When mainstream American companies started using the format back in the early 1980s (pioneered by Marvel Comics) it was generally used for stories that, at least nominally, seemed to warrant a prestige format. Over the years that has become less and less, particularly as comics themselves are printed on more expensive paper and with multi-tone colours, narrowing the gap between a "comicbook" and a "graphic novel". Many graphic novels today aren't much more than run-of-the-mill comics, except more expensive.

Though not flawless, Superpower is pleasingly self-contained. It stars the Justice League of America, but a reader isn't expected to have more than a passing familiarity with them. They're no references to previous adventures or asterixs urging the reader to rush out and get some past issue in order for things to make sense. The central character in the story, a novice superhero named Mark Antaeus, is introduced here and exits the stage in these very same pages.

And the story tries to tackle big, weighty ideas involving responsibility and the limits, self-imposed and otherwise, of power.

There's nothing in the material that couldn't be told in regular JLA comics or an annual, there's no "mature readers" material or anything, but at least conceptually it's trying to be a "special" story.

It introduces Mark Antaeus, superpowered guy and do-gooder, who's obsessed with being a superhero, even to the point of having himself surgically augmented to make him a better hero. But this isn't vanity: Antaeus genuinely wants to save lives. Eventually he gets the call to join the JLA (Antaeus so admires Superman he even has a tattoo of Superman's "S" on his back). At first Antaeus, who's as powerful as Superman, seems like a great addition...until he starts wanting to involve them in things outside what the Leaguers see as their mandate. Eventually, the clash between the JLA's necessary pragmatism and Antaeus' unchecked idealism leads to blows...and tragedy.

Antaeus is an intriguing figure, boasting unimpeachable intentions, but driven by a zealotry that hurts himself, and others.

If there's a criticism of Superpower it's that, not unlike a few other high minded comics that come to mind, the themes and ideas outweigh the nitty gritty of storytelling. Superpower can, at times, read almost more like an outline for a story -- a detailed outline, to be sure, but missing some of the little scenes that would make the big scenes seem more natural. Though Antaeus is an intriguing character, he's not always as well realized as a character, his transformation from small town do-gooder to overzealous super-cop with global interests isn't entirely depicted. As well, most of the Leaguers have only a few lines, with only Superman and Green (Kyle) Lantern emerging with any sort of significant roles. In fact, that becomes another problem...it's more about the characters than it is told through them. Marginal characters fare even worse, such as Antaeus' girlfriend. Perhaps writer John Arcudi should've employed a few more thought balloons to put us inside the various characters' heads.

As well, the political issue Antaeus wants to embroil the JLA in remains an "issue", Arcudi failing to make the victims of oppression that have touched Antaeus' heart people instead of statistics.

There are certainly no bad scenes in Superpower, but there are few memorable ones, either. Reflecting back on it, few moments or lines stand out ahead of the others.

The art by Scot Eaton and inker Ray Kryssing is very good and dynamic, but leans a little too much toward the over-muscled style, with a kind of metallic sheen to everyone and everything that maybe adds to the emotional aloofness.

The book has a great "hook" opener, starting the story at the grim but oblique end, then filling in the beginning and middle later, and a strong closing scene. The tackling of weighty ideas is always welcome, and provocative, even if one might quibble here and there. Personally I'd think more of the JLAers than just Green Lantern would be, uh, creeped out by how far Antaeus has modified his body in the pursuit of his superpowered ideal, and would question the ethics of those who helped him do it. It's a good, interesting story but one that maybe doesn't quite match its ambition.

Cover price: $9.25 CDN./$5.95 USA.

JLA/Titans: The Technis Imperative 1999 (SC TPB) 140 pgs.

Written by Devin Grayson. Illustrated by Phil Jimenez. Story Grayson & Jimenez. Inks by Andy Lanning.
Colours: Jason Wright. Letters: Comicraft. Editor: Eddie Berganza, Frank Berrios.

Reprinting: Jla/Titans #1-3 (1998-1999) mini-series, plus the lead story from Titans Secret Files #1

Rating: * * * * (out of 5)

Number of readings: 1

A strange computer intelligence invades earth’s computer systems -- including the JLA moonbase -- causing chaos and destruction, followed by an awesome space probe that swallows the moon itself. Secondary probes kidnap literally everyone who had ever been a Teen Titan. The Justice League wants to destroy the alien machine, but the Titans discover the secret behind it and want to stop it without killing the intelligence behind it (the wherefores I won’t elaborate on, so as not to spoil the plot, though we learn it a third of the way through).

The Technis Imperative is an enjoyable adventure, with the kind of big, earth-shaking concept comics like to indulge in from time to time, given a better-than-average foundation by the emotional-character stuff at the root of the Titans’ dilemma. This isn’t just about a one-dimensional villain and seeing how quickly the heroes can bust his chops. In fact, there’s plenty of action, but not too much violence which, I’ll admit, is nice.

It’s briskly paced, but the length of the thing is deceptive (the main story was originally published as three double-sized issues). Devin Grayson and Phil Jimenez try to work in everyone who was a Titan, plus most of the other superheroes in DC’s canon, and that’s where the size comes in -- just fitting everyone in. If you boil down the plot to what actually happens, the actual twists and turns, even including the character stuff, this story could’ve been told in far fewer pages. I reiterate, though, that that doesn’t mean the pacing drags, or that it's boring. The thing’s filled with little, strikingly rendered panels and lots of dialogue -- you get your money’s worth (without it seeming verbose or like they’re padding).

As an aside, I recently tried the comic The Authority, reading the "Outer Dark" storyline from #9-12, a story with certain (vague) similarities to The Technis Imperative (and a host of other world-shaking comic book stories that come to mind). The Authority is one of those critically acclaimed, "sophisticated" comics...and I actually thought Grayson and Jimenez did a better job of telling a story and just portraying the human condition. So there.

One gets the impression that this is a labour of love for Grayson and Jimenez, that they have a lot of affection for the Titans. On seeing all the obscure Titans assembled, Nightwing comments: “Man, somebody was thorough.” There’re some nice scenes (Robin III’s encounter with one of the probes is amusing) though a mid-story battle between Titans and Leaguers feels forced. Admittedly, though the story remains consistently interesting throughout, the climax doesn’t quite generate the edge-of-the-seat tension such a big, semi-apocalyptic story should. You don’t really believe anyone’s in genuine danger.

The art by Phil Jimenez is truly...amazing. He has been compared to George Perez in his detailed pictures, his carefully rendered faces and figures. Frankly, after reading this, I’d argue he’s surpassed Perez, managing to incoprorate all of Perez’s strengths, but with a little more depth and dimension and atmosphere. And he’s well-served by Lanning’s inks. There was some disappointment when it was learned Jimenez wouldn’t be drawing the regular Titans comic that followed this. You just have to contrast his work with the more cartoony style employed by Mark Buckingham in the brief epilogue to understand why (Buckingham is the regular artist on the Titans). Conversely, Jimenez can almost be overwhelming -- there’s a danger of sensory overload when looking at his stuff, and I’m not sure how well some of his two-page spreads will translate in the less-limber spined medium of a TPB.

The colours are also very effective in sustaining mood. The lettering is more uneven. I loved the decision to try and be expressive with the words, punching dialogue by putting some words in GIANT PRINT, rather than just laying them out mechanically. But sometimes the decisions didn’t strike me as the right ones. It’s like hearing an actor putting the emphasis in the wrong place. But that’s only sometimes.

Of course, as usually happens with these kind of mass get-togethers (DC seems to do a couple every year), most of the characters end up in little more than cameos, just uttering a line here and there, or throwing the odd punch. The story is principally about the Titans, moreso than the League, and even then only a few of them have substantial parts. There’s the same kind of fanboy fun in seeing familiar (and, admittedly for me, not so familiar) faces as was evoked in, say, Kingdom Come. Just don’t expect you’re favourite character to necessarily be spotlighted.

The climax gets down to the original Teen Titans of Robin, uh, I mean Nightwing; Kid Flash, uh, I mean Flash; Speedy, uh, I mean Arsenal; Aqualad, uh, I mean Tempest; and Wonder Girl, uh, I mean, Darkstar, uh, I mean Troia, uh, y’know, Donna Troy. And The Changeling (the former Beast Boy, who dates back as far as the Titans). Sheesh, you need a score card to keep track of who’s who these days! That decision, boiling it down to the original team, is nostalgically effective. Though technically I should be of the The New Teen Titans generation, my affections reside with the earlier team. Of course, using that group doesn’t make too much sense, since the climax should more logically involve members of the New Titans.

And all this isn’t to say that other characters don’t get their moments, both Titans and Leaguers, they do -- but often the reader never quite gets inside their heads. Conversely, Batman is prominently featured, and in a good way, portrayed both as a master strategist and as a man of compassion. Too often modern comics featuring Batman have envisioned him as a hard-nosed fascist, devoid of any real humanity. It’s not a pleasant interpretation, and doesn’t speak well of the kind of writers who think that that’s a cool character. So Grayson gets kudos for her take on the Dark Knight. Her versions of some other characters I’m not in a position to comment on. Though I’ve fallen back into reading comics, I’m still woefully unfamiliar with the modern DC Universe and the many ways characters have been reinterpreted. Personality-wise, Plastic Man doesn’t seem anything like the Plas I used to read about -- but whether that reflects the modern character, or just Grayson’s unfamiliarity with him, I don’t know. As well, having Orion of the New Gods as a JLA member seems a prosaic use of the character.

The powers of some of the characters seem a bit...extreme, too. I had thought modern comics had wanted to depower heroes like Superman, make them less God-like (somethig I didn’t entirely agree with). But here characters like Wonder Woman fly mountain-sized objects through the air without breaking a sweat.

Admittedly, part of the appeal here is nostalgic, re-encountering familiar characters. As such, the story will be a little confusing (at least) for those unfamiliar with the Titans, and even more fun for hardcore fans. Though I’m familiar with aspects of the Titans and have some comics in my collection, I’m a long way from being an expert, with many of the faces meaning nothing to me emotionally.

This is a review of the story as originally serialized in the JLA/Titans mini-series ...and I haven't read the story from The Titans Secret Files.

Cover price:

JLA: Year One 1999 (SC TPB) 300 pgs.

Written by Mark Waid & Brian Augustyn. Illustrated by Barry Kitson. Inks by Barry Kitson, Michael Bair (and others),
Colours: Pat Garrahy. Letters: Ken Lopez. Editor: Peter Tomasi.

Reprinting: JLA: Year One #1-12 (1997-1998 maxi-series)

Rating: * * * (out of 5)

Number of readings: 2

A belated addition to the stories re-inventing DC Comics characters (after a mid-'80s shake-up in which anything published prior to 1985 isn't supposed to have happened), JLA: Year One tells of the early days of the Justice League of America, the founding members being Flash (Barry Allen), Green Lantern (Hal Jordan), Aquaman, J'onn J'onzz, and the Black Canary. For those making comparisons, the original JLA back in the '60s featured Flash, Green Lantern, Aquaman, J'onn J'onzz, Wonder Woman, Batman, and Superman.

This has never happened before...an about face on one of my reviews. Sure, I've reviewed books where, after a second reading, I've liked them a little more -- or a little less -- than my initial reaction. But this is probably my most extreme re-evaluation. The first time I read JLA: Year One, I really didn't much care for it. But this time, well, I actually sort of did.

Of course, my basic assessment remains unchanged. What I felt were weaknesses remain, well, weak. But the second time through, I was more forgiving and actually found it a bit...fun. The problem is that sometimes you read something with great expectations that, if not met, can leave you feeling disappointed and even bitter. The second time, prepared for the short comings, you can enjoy it for what it does have.

I had initially read Year One after reading JLA: The Nail -- the Elseworld story which took the Silver Age JLA and put them in an Apocalyptic tale rife with social relevancy and powerful moments, while still being a fun, fast paced, four colour adventure. As well, the "Year One" title evokes the classic Batman: Year One story. With those classic tales setting the benchmark, Mark Waid and Brian Augustyn's kind of shallow, glib epic was a major disappointment.

The story attempts to re-chronicle the early days of the JLA, sometimes by weaving the story around previously chronicled adventures that, here, occur off stage. In other words, the characters spend some time referring to adventures that aren't actually depicted in these pages. Not only is that frustrating, but it can be confusing since the current DC reality isn't the same as when those adventures originally took place (the membership of the team alone isn't quite the same -- Wonder Woman was part of JLA stories published in the 1960s, but here Black Canary is). So you can't even view Year One as a companion piece to those existing stories (even assuming you had them in your collection, which is doubtful, given that they're decades old) since it isn't the same reality.

The main core of Year One is to explore the interpersonal relations between the various founding leaguers -- Green Lantern, Flash, Black Canary, Aquaman and J'onn J'onzz. At this point in their careers they're callow and new too the whole super hero biz. As well, the saga chronicles their conflict with a sinister, secret organization called Locus that is tied into the League's very first adventure involving alien invaders.

This was also where I had problems. The whole Locus thing is half-heartedly handled at best, with the characters talking about how they really should be investigating Locus...but then never really doing so. In one scene, late in the series, J'onn J'onzz bursts in on Locus H.Q. -- with no explanation for how he found thhe place! Also the character stuff just didn't always work for me. But part of that is because of my Old School sensibilities meeting DC's current universe. Not being that up on DC's current roster of heroes, I was looking forward to this revival of the team from my youth. But the Green Lantern and Aquaman and others here didn't really seem like the personalities I remembered. And attempts at sub-plots, like a burgeoning romance between Flash and Black Canary, are just kind of half-heartedly thrown in. The romance isn't developed and doesn't really go anywhere (as we knew it wouldn't, knowing the future of these characters).

The issue-by-issue plotting features often relatively self-contained stories (though not always) as the League battles a few villains that crop up (some sent by Locus, others not) and plenty of scenes of the characters sitting around, you now, interacting. A few years later, Waid (with Tom Peyer) produced a similar mini-series, Flash and Green Lantern, in which a series of self-contained adventures chronicled the friendship between the Silver Age versions of those characters. In that series, a nice job was done telling interesting, clever adventures while also being rife with characterization. But here, Waid and Augustyn present kind of rudimentary adventures and kind of shallow and repetitive character exploration.

O.K., that's all a recap of what I didn't like about JLA: Year One.

But read a second time, aware of all that, I found myself enjoying it a bit more. Sure it's light-weight and not exactly straining your grey cells in either story or characterization, but it can be fun. Taken as a light, breezy adventure, it's O.K. Despite my above criticism, there are occasional clever twists and interesting character turns and ideas (like Aquaman, new to the surface world, mumbling because sound carries better underwater). The treatment of the characters, once I accepted they weren't really the characters I remembered, was more agreeable (if still thin and repetitious). Along the way there's an entertaining two-parter teaming them up with the Doom Patrol, and there are appearances and cameos from most of DC's heroes over the twelve chapters.

Barry Kitson's art is bright and bold, telling the story with an Old School discipline that's clean and reasonably absorbing.

Like a lot of modern comics, there's little attempt to make the story accessible for novice readers -- since the first and second time I read it, I've picked up on references I didn't get the first time (I didn't know who Maxwell Lord was the first time I read it, though it's not important to the story as he's just in a cameo).

Ultimately, stripped of any expectations or hopes for a literary or sophisticated epic, I found JLA: Year One was a moderately pleasant, fun little read. Although, there's still a question as to whether, at 12 issues (and with the accompanying price tag), "moderately pleasant" is as good as it should've been. For my original review, click here.

This is review of the story originally serialized in the JLA: Year One mini-series.

Cover price: $25.50 CDN./$16.95 USA.

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