Constantine is not modelled on the disappointing 2005 Keanu Reeves movie, also called Constantine. Nor is it an adaptation of DC Comics' current superhero comic book, Constantine, set in the rebooted New 52 DC Universe. The TV show very clearly goes back to the source material, the 1980s DC/later-Vertigo comic series Hellblazer, written initially by Jamie Delano and based on the character John Constantine created by Alan Moore, Steve Bissette, and John Ridgway in the pages of Swamp Thing. The leading man looks just as he does in the comics, with his familiar trenchoat and tie, and he acts broadly the same way too. Just as crucially, his backstory draws heavily from Delano's Hellblazer run. This Constantine is riddled with guilt and fearful for his soul because he failed to save a girl named Astra in Newcastle from the demon Nergal.
This means that the the TV adaptation of the comic is actually more faithful to the source material than the current version of the comic -- but only in broad strokes. In actual execution, this TV show is not the mature affair that the Vertigo comic offered. This is not a cable television supernatural show. This is more like... a Supernatural show.
While at Comic Con, Grant Morrison dropped several enigmatic hints and subliminal messages to ComicsAlliance about his next mega-event, Multiversity, broke down the divisions between fictional universes, and even proclaimed that he thinks that he's made the world's first real superhero. He says things like that. Some people like him, many love him, and some people straight up hate him. With Multiversity starting up in August, you can be sure that there will soon be legions of detractors proclaiming that Morrison is the most overrated writer in comics, and nothing he's ever done has ever made any sense.
The release of DC's Doom Patrol Omnibus finally equips us to give these people the bludgeoning they deserve. (Metaphorical bludgeoning. ComicsAlliance does not condone actual bludgeoning.)
If you've read my recaps of The CW's Arrow, then you likely know I've been pretty hard on it. Yet I ultimately think the show accomplishes what it has brazenly set out to do since it started: be a television version of the Christopher Nolan Batman films.
The CW's new series The Flash, which spun off from Arrow and even features a guest appearance from Arrow star Stephen Amell in its pilot episode, takes much the same approach, but the movies it attempts to emulate aren't the dark, brooding Batman films. It's chasing after the Spider-Man franchise. And for both better and worse, it nails it.
This week, Chris and Matt gush about the amazing work Matt Fraction, David Aja, Matt Hollingsworth and Chris Eliopoulos do on the highly experimental and enjoyable Hawkeye #19. Then they talk about the Brian Buccellato-written Detective Comics Annual #3, which features collaborations with a whole slew of artists. Speaking of big groups of artists, they then pivot to talking about the new Vertigo series Bodies, which is written by Si Spencer and has art by Meghan Hetrick, Dean Ormston, Tula Lotay and Phil Winslade.
With the possible exception of those Sailor Moon toys that I dropped two hundred bucks on, Transforrmers vs. G.I. Joe #1 was the most exciting purchase I made last weekend at San Diego's Comic-Con International. It was pretty much guaranteed to be that way, too -- the #0 issue that came out on Free Comic Book Day and set up the ongoing story that Tom Scioli and John Barber would be telling was easily one of my favorite comics of the year so far. It was bright and engaging and weird, in exactly the way that a comic based on taking two toy properties and smashing them together to make one big story should be.
As far as weirdness goes, though, this first issue outstrips it by a long shot, and it does it by taking the high concept that I think we all expected from another Transformers vs. G.I. Joe story and turning it upside down, launching it into an entirely new echelon of strangeness. And it is great.
When discussing the oeuvre of David Lapham, the comic that comes up again and again is obviously Stray Bullets. As great as Stray Bullets is, though, it tends to overshadow the rest of Lapham's body of work rather unfairly in some cases. Despite the several very good comics that Lapham has produced besides his most famous title – including the incomplete Young Liars, the raucous Juice Squeezers, and of course WWF Battlemania – none can match the near-mythic level of quality and reputation of Stray Bullets, and tend to just get left out of the conversation.
The new trade paperback collection of Murder Me Dead, available July 23 from Image Comics, could help change that trend. A dark, stirring, and emotionally manipulative noir about self-destruction, lies, and guilt, it may be the best “other” Lapham comic in his catalog.
There was a lot to be wary of when Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia's "Batman: Zero Year" was announced. The most obvious reason was that it was the story that was set to replace my all-time favorite comic, Batman: Year One, going back to cover ground that had been stomped into concrete by one of the most influential stories of all time. Even the name was a response to Year One, and the expansion of what Frank Miller and David Mazzucchelli had done so elegantly in four issues to a full year of comics felt like it could've easily been symptomatic of the trend towards decompression that drags everything out for the bookstores. Why sell one hardcover when you could sell three, right?
At the same time, I liked what Snyder and Capullo had been doing on Batman enough that I was looking forward to reading it, and from that first shot of Batman on a dirtbike, something that I am genetically hardwired to love on sight, I was hooked.
This week, the final issue came out, and while we're still too close to it to really tell how well it'll stand the test of time, what I know right now is that I love it, and there's a good chance that it'll end up not only as my favorite version of Batman's origin, but as one of my favorite comic books of all time.
As much as I love Batman, and I think the record will show that I love Batman a whole heck of a lot, I haven't really been looking forward to sitting down and cracking open the new Batman: A Celebration of 75 Years hardcover. Last year's Superman anniversary hardcover was a disaster of revisionist history, 300 pages that would have you believe that one of the world's greatest superheroes did nothing for seven and a half decades but cry. With that in mind, I had no idea what DC Comics was going to do with Batman. If you'd asked me to bet on it, I would've put good money on a prediction that they'd craft a narrative that acknowledged Batman only as a scowling vigilante, consumed with vengeance and every bit as crazy as the villains he fought.
But it turns out I didn't have to worry. The Batman hardcover is exactly what it says it is -- a celebration of Batman across different eras, with a roster of stories that highlights one of the character's true strengths: How well he works across different kinds of stories.
Welcome back to Original Spin, the unofficial recap of the Marvel comic event Original Sin, by Jason Aaron and Mike Deodato -- which probably feeds in to the Marvel comic event AXIS, and somewhere in all that we'll get a lady Thor and a black Cap, and that will be very exciting. Black Captain America!
In the meantime it's still dude Thor and white and surprisingly Irish Captain America, and you have to read all these other comics that aren't the ones they're talking about in USA Today. Ugh, comics are dumb. So, to catch you up; the Watcher got shot and someone did it, and black Captain America isn't in this comic but we're desperate for attention.
This week, Chris and Matt talk about how Robin Rises Omega #1 by Peter Tomasi and Andy Kubert should be great, but falls short, possibly because it's a victim of its own marketing. Then, we talk about how Life With Archie #36 by Paul Kupperberg and Pat & Tim Kennedy is really enjoyable despite some weird tics. Then, we discuss the cool new sci-fi anthology, 2299, edited by Dylan Todd.
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