Green Lantern #23: As much as I find DC's New 52 to be alienating and unreadable, there are some bright spots in this dark, rusted meat locker of a universe that deserve mention. One of them is the Green Lantern stories, but mainly because DC left the continuity relatively untouched in the hard reboot. Since the reboot began, Geoff Johns had been doing double duty in a very Jekyll and Hyde fashion, going between maintaining a tight ship with GL by day and fucking up the Justice League by night. Since he's stepped away from the book he's done well to make the book he's done badly even worse, Robert Venditti has taken the helm to build a new dimension to the mythos.This issue focuses mainly on Hal personally investigating a murder on Oa from #22, going off alone (true to Hal Jordan form) to find who's responsible. Venditti is at his "A" game in his characterization of the hero, fleshing out his pigheadedness in going off alone and half-cocked, looking for an enemy he knows nothing about. The Surrogates writer appears to have a great understanding of his lead character, giving Hal Jordan a whole new set of problems to deal with by leaving him in charge of the Lantern Corps. I enjoy this step in the "greatest Lantern's" journey because the plots were becoming stale with the same predictable weight of the Guardians' leadership hanging over his head.
Guardians of the Universe: "We know stuff about your enemy that might help you to not die out there, but we won't tell you because it's probably our fault in the first place. Or...you know...because fuck you, that's why."
One thing that cannot afford to slack off is artwork. When you have a comic book about a guy who can create things with a magic wishing ring, visuals have to be on point at all times. Fortunately, Billy Tan kicks here. The action beats are brilliantly drawn, letting the fights jump straight off the page. Not only do Hal's constructs look impressive, but they also give us a couple of imaginative feats I don't think I've ever seen before.
Bottom Line: Whether you like Geoff Johns work or not, he made a lasting impact on Green Lantern. That's a tough act to follow and Robert Venditti is handling the responsibility pretty well so far. 9 out of 10.
Kick-Ass 3 #2: In my last review, I was pretty clear on my feelings that the Kick-Ass saga's death is both necessary and welcome much like season three of Heroes. The second issue of the final chapter makes the reason pretty evident. Mark Millar makes no secret of his love for deconstructing superheroes under "real world" circumstances. However, with this book, it seems that his big picture mutates in such a way, each chapter becomes, in a way, unrecognizable from one story to the next.
The first theme of the first one was "Anyone who thinks they can fight crime in real life is pretty stupid and they'd probably die." In Kick-Ass 2, Millar's prevailing point was that cosplayers are delusional losers. Now, it seems clear that Millar's heroes (really, the villains, too) are held up as totems of "jerk culture" in comics. And the problem is the same as it was before: Good guy or bad guy....nobody in this book is a terribly good person. The issue focuses a lot on the building comeuppance of Chris Genovese aka Red Mist, who evolved into an extinction level asshole in the first two books. Also, we get a look at Chris' mother, seemingly as much a victim (unintended as it may be) of her son's crimes as those he had murdered. It does a pretty good job of pondering what it would be like for a supervillain's family if everyone knew their relation. How could Doctor Doom's mother ever leave the house with the whole world knowing their offspring had just vaporized Buckingham Palace? Would Bullseye's sister even be able to make it to the mailbox in the morning without a victim's angry father waiting with a sniper rifle in hand?
Meanwhile, Kick-Ass himself becomes the less interesting character to follow as he tries to rally his halfhearted troops, Justice Forever, to put a fright into the organized crime (which seems, by the way, completely unfazed by these people living out their comic book fantasies) of the city Batman: Year One style. Commonly, it is an endearing trait when the hero stays the course in his mission to make his protectorate a better place. The Dark Knight trilogy saw Bruce Wayne's parents killed, the love of his life blown to Hell, his partner in justice scarred and corrupted by the Joker, his back broken, thrown into a hole left to crawl his way out and stabbed in the gut by his rebound girlfriend. And he never gave up. And he was rewarded for it. Kick-Ass, however, seems to be on a far less fruitful quest that isn't necessarily for social change so much as it is for personal validation. Proving that one man can make a difference seems to not be as important as proving to himself that he's not just some jackass cosplayer.
Bottom Line: I've never read a comic in which I kinda wanted everyone to lose. 7 out of 10.
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